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{{Short description|Literature written in Scotland or by Scottish writers}}
{{redirect|Scottish Fiction|the Idlewild album|Scottish Fiction: Best of 1997–2007{{!}}''Scottish Fiction: Best of 1997–2007''}}
{{Use dmy dates|date=May 2019}}
{{Use British English|date=May 2020}}
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'''Scottish literature''' is literature written in [[Scotland]] or by [[List of Scottish writers|Scottish writers]]. It includes works in [[Scottish English|English]], [[Scottish Gaelic language|Scottish Gaelic]], [[Scots language|Scots]], [[Brythonic languages|Brythonic]], [[French language|French]], [[Latin language|Latin]], [[Norn language|Norn]] or other languages written within the modern boundaries of Scotland.
The earliest extant literature written in what is now Scotland, was composed in Brythonic speech in the sixth century and has survived as part of [[Welsh-language literature|Welsh literature]]. In the following centuries there was literature in Latin, under the influence of the Catholic Church, and in [[Old English]], brought by [[Angles (tribe)|Anglian]] settlers. As the state of [[Alba]] developed into the kingdom of Scotland from the eighth 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 thirteenth 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 fourteenth-century poet [[John Barbour (poet)|John Barbour]]'s epic ''[[The Brus|Brus]]'', which was followed by a series of vernacular versions of medieval romances. These were joined in the fifteenth century by Scots prose works.
In the early modern era royal patronage supported poetry, prose and drama. [[James V of Scotland|James V]]'s court saw works such as [[David Lyndsay|Sir David Lindsay of the Mount]]'s ''[[A Satire of the Three Estates|The Thrie Estaitis]]''. In the late sixteenth century [[James VI of Scotland|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 (poet)|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 nineteenth 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]].
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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 [[Kenneth I of Scotland|Cínaed mac Ailpín]] (Kenneth MacAlpin) in the 840s, which brought to power the [[House of Alpin]] and the creation of the [[Kingdom of Alba]].<ref name=Yorke2006p54>B. Yorke, ''The Conversion of Britain: Religion, Politics and Society in Britain c.600–800'' (Pearson Education, 2006), {{ISBN|0582772923}}, p. 54.</ref> 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 language|Norse]].<ref>W. O. Frazer and A. Tyrrell, ''Social Identity in Early Medieval Britain'' (London: Continuum, 2000), {{ISBN|0718500849}}, p. 238.</ref> 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.<ref name=Crawford2009/><ref name=Houston2002p76>R. A. Houston, ''Scottish Literacy and the Scottish Identity: Illiteracy and Society in Scotland and Northern England, 1600–1800'' (Cambridge: Cambridge University Press, 2002), {{ISBN|0521890888}}, p. 76.</ref>
From the eleventh century French, [[Flemish dialects|Flemish]] and particularly English became the main languages of Scottish [[burgh]]s, most of which were located in the south and east.<ref>K. J. Stringer, "Reform Monasticism and Celtic Scotland", in E. J. Cowan and R. A. McDonald, eds, ''Alba: Celtic Scotland in the Middle Ages'' (East Lothian: Tuckwell Press, 2000), {{ISBN|1862321515}}, p. 133.</ref> At least from the accession of [[David I of Scotland|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 "[[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 bardic family|MacMhuirich]] dynasty, who were bards to the [[Lord of the Isles]],<ref>K. M. Brown, ''Noble Society in Scotland: Wealth, Family and Culture from the Reformation to the Revolutions'' (Edinburgh: Edinburgh University Press, 2004), {{ISBN|0748612998}}, p. 220.</ref> existed in Scotland and a larger number in Ireland, until they were suppressed from the seventeenth century.<ref name=Houston2002p76/> Members of bardic schools were trained in the complex rules and forms of Gaelic poetry.<ref name="Wormald1991pp60-7"/> Much of their work was never written down and what survives was only recorded from the sixteenth century.<ref name=Crawford2009>R. Crawford, [https://books.google.com/books?id=0QV8zUv3Fy0C&pg=PT97&dq ''Scotland's Books: A History of Scottish Literature''] (Oxford: Oxford University Press, 2009), {{ISBN|019538623X}}.</ref>
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 fourteenth 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.<ref>T. O. Clancy, "Scotland, the 'Nennian' recension of the Historia Brittonum, and the Lebor Bretnach", in S. Taylor, ed., ''Kings, Clerics and Chronicles in Scotland, 500–1297'' (Dublin/Portland, 2000), {{ISBN|1-85182-516-9}}, pp. 87–107.</ref> 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]].<ref>T. O. Clancy and G. Márkus, ''The Triumph Tree: Scotland's Earliest Poetry, 550–1350'' (Edinburgh: Canongate Books, 1998), {{ISBN|0-86241-787-2}}, pp. 247–283.</ref>
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{{See also|Scotland in the Late Middle Ages}}
[[File:King James I of Scotland.jpg|thumb|upright|[[James I of Scotland|James I]], who spent much of his life imprisoned in England, where he gained a reputation as a musician and poet]]
In the late Middle Ages, [[
The first surviving major text in Scots literature is [[John Barbour (poet)|John Barbour]]'s ''[[The Brus|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
Much Middle Scots literature was produced by [[makars]], poets with links to the royal court, which included [[James I of Scotland|James I]] (who wrote ''[[The Kingis Quair]]''). Many of the makars had university education and so were also connected with the [[Mother Church|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.<ref>A. Grant, ''Independence and Nationhood, Scotland 1306–1469'' (Baltimore: Edward Arnold, 1984), pp. 102–3.</ref> Before the advent of printing in Scotland, writers such as [[Robert Henryson]], [[William Dunbar]], [[Walter Kennedy (poet)|Walter Kennedy]] and [[Gavin Douglas]] have been seen as leading a golden age in [[Poetry of Scotland|Scottish poetry]].<ref name="Wormald1991pp60-7"/>
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{{Main|Scottish literature in the eighteenth century|Scottish Enlightenment}}
{{See also|Scotland in the modern era}}
[[File:Allan-Ramsay.jpg|thumb|left|upright|[[Allan Ramsay (poet)|
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.<ref>C. Jones, ''A Language Suppressed: The Pronunciation of the Scots Language in the 18th Century'' (Edinburgh: John Donald, 1993), p. vii.</ref> Nevertheless, Scots remained the vernacular of many rural communities and the growing number of urban working-class Scots.<ref>J. Corbett, D. McClure and J. Stuart-Smith, "A Brief History of Scots" in J. Corbett, D. McClure and J. Stuart-Smith, eds, ''The Edinburgh Companion to Scots'' (Edinburgh, Edinburgh University Press, 2003), {{ISBN|0-7486-1596-2}}, p. 14.</ref> Literature developed a distinct national identity and began to enjoy an international reputation. [[Allan Ramsay (poet)|Allan Ramsay]] (1686–1758) was the most important literary figure of the era, often described as leading a "vernacular revival". He laid the foundations of a reawakening of interest in older Scottish literature, publishing ''The Ever Green'' (1724), a collection that included many major poetic works of the Stewart period.<ref>R. M. Hogg, ''The Cambridge History of the English Language'' (Cambridge: Cambridge University Press, 1994), {{ISBN|0521264782}}, p. 39.</ref> He led the trend for [[pastoral]] poetry, helping to develop the [[Habbie stanza]], which would be later be used by Robert Burns as a [[poetic form]].<ref>{{Citation| author=J. Buchan| title=Crowded with Genius| publisher=Harper Collins| year=2003| isbn=0-06-055888-1| page=[https://archive.org/details/crowdedwithgeniu00buch/page/311 311]| url-access=registration| url=https://archive.org/details/crowdedwithgeniu00buch/page/311}}</ref> His ''Tea-Table Miscellany'' (1724–37) contained poems old Scots folk material, his own poems in the folk style and "gentilizings" of Scots poems in the English neo-classical style.<ref>"Poetry in Scots: Brus to Burns" in C. R. Woodring and J. S. Shapiro, eds, ''The Columbia History of British Poetry'' (Columbia University Press, 1994), {{ISBN|0585041555}}, p. 100.</ref> His pastoral opera ''[[The Gentle Shepherd]]'' was one of the most influential works of the era.<ref name=Brown2011bpp28-9/> He would also play a leading role in supporting drama in Scotland and the attempt to found a permanent theatre in the capital.<ref name=Bell2007p288>B. Bell, "The national drama, Joanna Baille and the national theatre", in I. Brown, ''The Edinburgh History of Scottish Literature: Enlightenment, Britain and Empire, 1707–1918'' (Edinburgh University Press, 2007), {{ISBN|0748624813}}, p. 288.</ref>
Ramsay was part of a community of poets working in Scots and English. These included [[William Hamilton (comic poet)|William Hamilton of Gilbertfield]] (c. 1665–1751), Robert Crawford (1695–1733), [[Alexander Ross (poet)|Alexander Ross]] (1699–1784), the Jacobite [[William Hamilton (Jacobite poet)|William Hamilton]] of Bangour (1704–54), socialite [[Alison Rutherford]] Cockburn (1712–94), and poet and playwright [[James
The early eighteenth century was also a period of innovation in Gaelic vernacular poetry. Major figures included [[Rob Donn]] Mackay (1714–78) and [[Donnchadh Bàn Mac an t-Saoir]] (Duncan Ban MacIntyre) (1724–1812). The most significant figure in the tradition was [[Alasdair mac Mhaighstir Alasdair]] (Alasdair MacDonald) (c. 1698–1770). His interest in traditional forms can be seen in his most significant poem ''Clanranald's Gallery''. He also mixed these traditions with influences from the Lowlands, including Thompson's ''Seasons'', which helped inspire a new form of nature poetry in Gaelic, which was not focused on their relations to human concerns.<ref name=MacDonald2001pp255-7/>
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[[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 antiquity|Classical]] [[Epic poetry|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 [[Romanticism|Romantic movement]] in European, and especially in German, literature, influencing [[Johann Gottfried von Herder|Herder]] and [[Johann Wolfgang von Goethe|Goethe]].<ref>{{Citation| author=J. Buchan| title=Crowded with Genius| publisher=Harper Collins| year=2003| isbn=0-06-055888-1| page=[https://archive.org/details/crowdedwithgeniu00buch/page/163 163]| url-access=registration| url=https://archive.org/details/crowdedwithgeniu00buch/page/163}}</ref> 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.<ref>{{Citation| author=D. Thomson|title =The Gaelic Sources of Macpherson's "Ossian"| publisher =Oliver & Boyd| year =1952| location =Aberdeen}}</ref>
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 music|folk songs]] from across Scotland, often revising or [[Literary adaptation|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.<ref>{{Citation |author=L. McIlvanney |date=Spring 2005 |title=Hugh Blair, Robert Burns, and the Invention of Scottish Literature |journal=Eighteenth-Century Life |volume=29 |issue=2 |pages= 25–46|doi=10.1215/00982601-29-2-25|s2cid=144358210 }}</ref> Burns's poetry drew upon a substantial familiarity with and knowledge of [[Classics|Classical]], [[Bible|Biblical]], and [[English literature]], as well as the Scottish Makar tradition.<ref name=Literary-Style>Robert Burns: "[http://www.blurbwire.com/topics/Robert_Burns::sub::Literary_Style Literary Style] {{webarchive|url=https://web.archive.org/web/20131016215809/http://www.blurbwire.com/topics/Robert_Burns::sub::Literary_Style |date=2013-10-16 }}". Retrieved 24 September 2010.</ref> 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.<ref name=some-hae-meat>Robert Burns: "[http://poetrydispatch.wordpress.com/2009/01/24/robert-burns-some-hae-meat/some hae meat]". Retrieved 24 September 2010.</ref> His themes included [[republicanism]], [[Radicalism (historical)|Radical]]ism, [[Scottish patriotism]], [[Anti-clericalism|anticlericalism]], class inequalities, [[gender roles]], commentary on the [[Scottish Kirk]] of his time, [[Scottish cultural identity]], poverty, [[Human sexuality|sexuality]], and the beneficial aspects of popular socialising.<ref name=Address-to-the-Kibble>Red Star Cafe: "[http://redstarcafe.wordpress.com/2008/01/25/address-to-the-kibble/Address to the Kibble]." Retrieved 24 September 2010.</ref> Other major literary figures connected with Romanticism include the poets and novelists [[James Hogg]] (1770–1835), [[Allan Cunningham (author)|Allan Cunningham]] (1784–1842) and [[John Galt (novelist)|John Galt]] (1779–1839),<ref>A. Maunder, ''FOF Companion to the British Short Story'' (Infobase Publishing, 2007), {{ISBN|0816074968}}, p. 374.</ref>
[[File:BailliePortrait.jpeg|thumb|upright|left|Engraving of playwright [[Joanna Baillie]]]]
Drama was pursued by Scottish playwrights in London such as [[Catherine Trotter]] (1679–1749), born in London to Scottish parents and later moving to Aberdeen. Her plays and included the verse-tragedy ''Fatal Friendship'' (1698), the comedy ''Love at a Loss'' (1700) and the history ''The Revolution in Sweden'' (1706). David Crawford's (1665–1726) plays included the [[Restoration comedy|Restoration comedies]] ''Courtship A-la-Mode'' (1700) and ''Love at First Sight'' (1704). These developed the character of the stage Scot, often a clown, but cunning and loyal. [[Newburgh Hamilton]] (1691–1761), born in Ireland of Scottish descent, produced the comedies ''The Petticoat-Ploter'' (1712) and ''The Doating Lovers'' or ''The Libertine'' (1715). He later wrote the libretto for Handel's ''[[Samson (Handel)|Samson]]'' (1743), closely based on [[John Milton]]'s ''[[Samson Agonistes]]''. James
In Scotland performances were largely limited to performances by visiting actors, who faced hostility from the Kirk.<ref name=Brown2011bpp28-9/> The Edinburgh Company of Players were able to perform in Dundee, Montrose, Aberdeen and regular performances at the Taylor's Hall in Edinburgh under the protection of a Royal Patent.<ref name=Brown2011bpp28-9/> Ramsay was instrumental in establishing them in a small theatre in Carruber's Close in Edinburgh,<ref name=Garlick2004pp170-1>G. Garlick, "Theatre outside London, 1660–1775", in J. Milling, P. Thomson and J. Donohue, eds, ''The Cambridge History of British Theatre, Volume 2'' (Cambridge: Cambridge University Press, 2004), {{ISBN|0521650682}}, pp. 170–1.</ref> but the passing of the [[Licensing Act 1737|1737 Licensing Act]] made their activities illegal and the theatre soon closed.<ref name=Bell2007p288/> A new theatre was opened at Cannongate in 1747 and operated without a licence into the 1760s.<ref name=Garlick2004pp170-1/> 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 literature|Gothic]] Romanticism.<ref name=Brown2007pp229-30>I. Brown, ''The Edinburgh History of Scottish Literature: Enlightenment, Britain and Empire (1707–1918)'' (Edinburgh: Edinburgh University Press, 2007), {{ISBN|0748624813}}, pp. 229–30.</ref>
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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 (play)|Douglas]]'' (1756) and Ramsay's ''The Gentle Shepherd'' (1725), with the last two being the most popular plays among amateur groups.<ref name=Brown2007p231>I. Brown, ''The Edinburgh History of Scottish Literature: Enlightenment, Britain and Empire (1707–1918)'' (Edinburgh: Edinburgh University Press, 2007), {{ISBN|0748624813}}, p. 231.</ref> Scott was keenly interested in drama, becoming a shareholder in the [[Theatre Royal, Edinburgh|Theatre Royal]], Edinburgh.<ref name=Brown2007pp185-6/> Baillie's Highland themed ''[[The 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.<ref>M. O'Halloran, "National Discourse or Discord? Transformations of ''The Family Legend'' by Baille, Scott and Hogg", in S-R. Alker and H. F. Nelson, eds, ''James Hogg and the Literary Marketplace: Scottish Romanticism and the Working-Class Author'' (Aldershot: Ashgate Publishing, Ltd., 2009), {{ISBN|0754665690}}, p. 43.</ref> Scott also wrote five plays, of which ''Hallidon Hill'' (1822) and ''MacDuff's Cross'' (1822), were patriotic Scottish histories.<ref name=Brown2007pp185-6>I. Brown, ''The Edinburgh History of Scottish Literature: Enlightenment, Britain and Empire (1707–1918)'' (Edinburgh: Edinburgh University Press, 2007), {{ISBN|0748624813}}, pp. 185–6.</ref> Adaptations of the Waverley novels, largely first performed in minor theatres, rather than the larger [[Patent theatre]]s, 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.<ref name=Brown2007p231/>
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.<ref>A. Jarrels, "'Associations respect[ing] the past': Enlightenment and Romantic historicism", in J. P. Klancher, ''A Concise Companion to the Romantic Age'' (Oxford: John Wiley & Sons, 2009), {{ISBN|0631233555}}, p. 60.</ref><ref>A. Benchimol, ed., ''Intellectual Politics and Cultural Conflict in the Romantic Period: Scottish Whigs, English Radicals and the Making of the British Public Sphere'' (Aldershot: Ashgate, 2010), {{ISBN|0754664465}}, p. 210.</ref>
[[Thomas Carlyle]], in such works as ''[[Sartor Resartus]]'' (1833–34), ''[[The French Revolution: A History]]'' (1837) and ''[[On Heroes, Hero-Worship, & the Heroic in History]]'' (1841), profoundly influenced philosophy and literature of the age.
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 (novel)|Kidnapped]]'' and ''[[Treasure Island]]''. [[Arthur Conan Doyle]]'s ''[[Sherlock Holmes]]'' stories helped found the tradition of detective fiction. The "[[Kailyard school|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 ''[[Phantastes]]'' played a major part in the creation of the fantasy genre.<ref>{{Citation|title=Cultural Profile: 19th and early 20th century developments|journal=Visiting Arts: Scotland: Cultural Profile|url=http://www.culturalprofiles.net/scotland/Directories/Scotland_Cultural_Profile/-5402.html|archive-url=https://web.archive.org/web/20110930034445/http://www.culturalprofiles.net/scotland/Directories/Scotland_Cultural_Profile/-5402.html|archive-date=30 September 2011|url-status=dead}}</ref>{{clear}}
==
{{Main|Literature in modern Scotland|Scottish Renaissance}}
{{See also|Scotland in the modern era}}
[[File:Lamb-Hugh MacDiarmid.jpg|thumb|upright|left|A bust of [[Hugh MacDiarmid]] sculpted in 1927 by [[William Lamb (sculptor)|William Lamb]]]]
In the early
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 (broadcaster)|Maurice Lindsay]].<ref name=VisitingArtsScotland/> [[George Mackay Brown]] from Orkney, and [[Iain Crichton Smith]] from Lewis, wrote both poetry and prose fiction shaped by their distinctive island backgrounds.<ref name=VisitingArtsScotland/> The Glaswegian poet [[Edwin Morgan (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.<ref>{{Citation| title =The Scots Makar| publisher =The Scottish Government| date =16 February 2004| url =http://www.scotland.gov.uk/News/Releases/2004/02/5075| access-date =28 October 2007| archive-url =https://web.archive.org/web/20120204042020/http://www.scotland.gov.uk/News/Releases/2004/02/5075| archive-date =4 February 2012| url-status =dead}}</ref> The shift to drama that focused on working class life in the post-war period gained momentum with Robert McLeish's ''The Gorbals Story''<ref name=Kershaw&Thompson2004p208/> and the work of [[Ena Lamont Stewart]],<ref>N. Holdsworth, "Case study: Ena Lamont Stewart's ''Men Should Weep'' 1947", in B. Kershaw and P. Thomson, ''The Cambridge History of British Theatre: Volume 3'' (Cambridge: Cambridge University Press, 2004), {{ISBN|0521651328}}, p. 228.</ref> [[Robert Kemp (playwright)|Robert Kemp]] and George Munro.<ref name=Kershaw&Thompson2004p208>J. MacDonald, "Theatre in Scotland" in B. Kershaw and P. Thomson, ''The Cambridge History of British Theatre: Volume 3'' (Cambridge: Cambridge University Press, 2004), {{ISBN|0521651328}}, p. 208.</ref> 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 (novel)|The Prime of Miss Jean Brodie]]'' (1961)<ref name=VisitingArtsScotland/> and Kennaway's script for the film ''[[Tunes of Glory]]'' (1956).<ref>{{Citation|title=James & Jim: a Biography of James Kennaway |last=Royle |first=Trevor |year=1983 |publisher=[[Mainstream Publishing|Mainstream]] |isbn=978-0-906391-46-4 |pages=185–95}}</ref> Successful mass-market works included the action novels of [[Alistair MacLean]], and the historical fiction of [[Dorothy Dunnett]].<ref name=VisitingArtsScotland/> 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]].<ref name=VisitingArtsScotland/>
[[File:Carol Ann Duffy (cropped).jpg|thumb|upright|right|[[Carol Ann Duffy]] the first Scottish [[Poet Laureate]]]]
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 [[Birlinn (publisher)|Polygon Books]]. Members of the group that would come to prominence as writers included [[James Kelman]], [[Alasdair Gray]], [[Liz Lochhead]], [[Tom Leonard (poet)|Tom Leonard]] and [[Aonghas MacNeacail]].<ref name=VisitingArtsScotland/> In the 1990s major, prize winning, Scottish novels that emerged from this movement included [[Irvine Welsh]]'s ''[[Trainspotting (novel)|Trainspotting]]'' (1993), Warner's ''[[Morvern Callar]]'' (1995), Gray's ''[[Poor Things]]'' (1992) and Kelman's ''[[How Late It Was, How Late]]'' (1994).<ref name=VisitingArtsScotland/> 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). Gray and [[Iain Banks]] led a wave of fantasy, speculative and science-fiction writing with notable authors including [[Ken MacLeod]], [[Andrew Crumey]], [[Michel Faber]], [[Alice Thompson]] and [[Frank Kuppner]]. 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.<ref name=VisitingArtsScotland/> Scottish play writing became increasingly internationalised, with Scottish writers such as Liz Lochhead and Edwin Morgan adapting classic texts, while [[Jo Clifford]] and [[David Greig (dramatist)|David Greig]] investigated European themes.<ref>J. MacDonald, "Theatre in Scotland" in B. Kershaw and P. Thomson, ''The Cambridge History of British Theatre: Volume 3'' (Cambridge: Cambridge University Press, 2004), {{ISBN|0521651328}}, p. 223.</ref> This period also saw the emergence of a new generation of Scottish poets that became leading figures on the UK stage, including [[Don Paterson]], [[Kathleen Jamie]], [[Douglas Dunn]], [[Robert Crawford (Scottish poet)|Robert Crawford]], and [[Carol Ann Duffy]].<ref name=VisitingArtsScotland/> Glasgow-born 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.<ref>{{Citation|date=1 May 2009|title=Duffy reacts to new Laureate post|work=BBC News|url=http://news.bbc.co.uk/2/hi/entertainment/8029388.stm|archive-url=https://web.archive.org/web/20111030093931/http://news.bbc.co.uk/2/hi/entertainment/8029388.stm|archive-date=30 October 2011|url-status=dead}}</ref>
==See also==
*[[Association for Scottish Literary Studies]]
*[[International Association for the Study of Scottish Literatures]]
*[[List of books for the "Famous Scots Series"|Books in the "Famous Scots Series"]]
*[[Golden Treasury of Scottish Poetry]]
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===Bibliography===
* Beasley, J. C., ''Tobias Smollett: Novelist'' (University of Georgia Press, 1998), {{ISBN|0820319716}}.
* Buchan, J., ''Crowded with Genius'' (
* MacDonald, J., "Theatre in Scotland" in B. Kershaw and P. Thomson, ''The Cambridge History of British Theatre: Volume 3'' (Cambridge: Cambridge University Press, 2004), {{ISBN|0521651328}}.
* Bawcutt, P. J. and Williams, J. H., ''A Companion to Medieval Scottish Poetry'' (Woodbridge: Brewer, 2006), {{ISBN|1-84384-096-0}}.
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[[Category:Scottish literature| ]]
[[Category:European literature]]
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