Table of Contents

• THE PIPES OF WAR
  • INTRODUCTION
  • A HISTORY OF THE PIPES
  • THE PIPES IN THE WAR, 1914-1918
    • THE WESTERN FRONT
    • GALLIPOLI
    • SALONIKA
    • MESOPOTAMIA
    • THE LAST STAGE
    • PIPERS IN THE RANKS
    • PIPERS ON THE MARCH
    • PIPE TUNES
    • INDIVIDUAL ACHIEVEMENTS.
    • FOREIGNERS AND THE PIPES
    • THE PIPES IN CAPTIVITY
  • MILITARY PIPE BANDS, AND REFORM
  • REGIMENTAL RECORDS
    • THE SCOTS GUARDS
    • THE ROYAL SCOTS
    • THE ROYAL SCOTS FUSILIERS
    • THE KING'S OWN SCOTTISH BORDERERS
    • THE CAMERONIANS (THE SCOTTISH RIFLES)
    • THE ROYAL HIGHLANDERS (THE BLACK WATCH)
    • THE HIGHLAND LIGHT INFANTRY
    • THE SEAFORTH HIGHLANDERS
    • THE GORDON HIGHLANDERS
    • THE QUEEN'S OWN CAMERON HIGHLANDERS
    • THE ARGYLL AND SUTHERLAND HIGHLANDERS
    • THE LONDON SCOTTISH
    • THE TYNESIDE SCOTTISH
    • THE MIDDLESEX REGIMENT
    • THE LIVERPOOL SCOTTISH
    • THE ROYAL FUSILIERS
    • THE ARGYLLSHIRE MOUNTAIN BATTERY
    • THE ROSS AND CROMARTY BATTERY
    • MISCELLANEOUS
    • PRISONERS OF WAR BAND
    • PRINCESS PATRICIA'S CANADIAN LIGHT INFANTRY
    • THE ROYAL HIGHLANDERS OF CANADA
    • THE CANADIAN SCOTTISH
    • THE CAMERON HIGHLANDERS OF CANADA
    • THE CANADIAN PIONEERS
    • THE SOUTH AFRICAN SCOTTISH
  • ROLL OF HONOUR. 1914-1918
  • CANNTAIREACHD
  • THE TUITION OF YOUNG REGIMENTAL PIPERS
  • THE SPIRIT OF THE MACCRIMMONS
  • A GOSSIP ABOUT THE GORDON HIGHLANDERS
  • TO THE LION RAMPANT
  • THE MUSIC OF BATTLE
  • THE PIPES IN THE EVERYDAY LIFE OF THE WAR
  • THE OLDEST AIR IN THE WORLD
  • THE PIPES: ONSET
  • FLESH TO THE EAGLES
  • THE BLACK CHANTER
  • THE PIPES

THE PIPES OF WAR

PIPER JAMES RICHARDSON, V.C., 16TH CANADIAN SCOTTISH
At Regina Trench, Vimy Ridge
From the Painting by J. Prinsep Beadle

The Pipes of War

A Record of the Achievements of Pipers
of Scottish and Overseas Regiments
during the War 1914-18

BY Brevet-Col. SIR BRUCE SETON, Bart., of Abercorn, C.B.AND Pipe-Major JOHN GRANT

WITH CONTRIBUTIONS BY

NEIL MUNRO, BOYD CABLE, PHILIP GIBBS, and Others

Wherever Scottish troops have fought the sound of the pipes has been heard, speaking to us of our beloved native land, bringing back to our memories the proud traditions of our race, and stimulating our spirits to fresh efforts in the cause of freedom. The cry of "The Lament" over our fallen heroes has reminded us of the undying spirit of the Scottish race, and of the sacredness of our cause.

The Pipers of Scotland may well be proud of the part they have played in this war. In the heat of battle, by the lonely grave, and during the long hours of waiting, they have called to us to show ourselves worthy of the land to which we belong. Many have fallen in the fight for liberty, but their memories remain. Their fame will inspire others to learn the pipes, and keep alive their music in the Land of the Gael.

D. Haig F.M.
6 Dec^r 1918

PREFACE

This record of the achievements of pipers during the war of 1914-18 is not intended to be an appeal to emotionalism. It aims at showing that, in spite of the efforts of a very efficient enemy to prevent individual gallantry, in spite of the physical conditions of the modern battlefield, the pipes of war, the oldest instrument in the world, have played an even greater part in the orchestra of battle in this than they have in past campaigns.

The piper, be he Highlander, or Lowlander, or Scot from Overseas, has accomplished the impossible—not rarely and under favourable conditions, but almost as a matter of routine; and to him not Scotland only but the British Empire owes more than they have yet appreciated.

In doing so he has sacrificed himself; and Scotland—and the world—must face the fact that a large proportion of the men who played the instrument and kept alive the old traditions have completed their self-imposed task. With 500 pipers killed and 600 wounded something must be done to raise a new generation of players; it is a matter of national importance that this should be taken in hand at once, and that the sons of those who have gone should follow in the footsteps of their fathers.

This is the best tribute that can be offered to them.

The Piobaireachd Society intend to institute a Memorial School of piping for this purpose, and all profits from the sale of this book will be handed over to their fund.

The compilation of the statistical portions of the work has involved correspondence with commanding officers, pipe presidents and pipe majors of many units in the Imperial armies; to them, for their enthusiastic assistance in obtaining information, is due the credit for the mass of detail that has been made available.

To the other contributors—authors, artists and poets—is due in large measure such success as may follow the publication of this work. They have helped a cause worthy of their efforts.

It is earnestly to be hoped that Scotland will rise to the occasion. To the compilers it has been a privilege to record the achievements of men—many of them personal friends—who contributed so largely to the success of their gallant regiments.

B. S.
J. G.

CONTENTS

ILLUSTRATIONS

THE PIPES OF WAR

BY

BREVET-COL. SIR BRUCE SETON, BART.
OF ABERCORN, C.B.

INTRODUCTION

The history of the bagpipes as a military institution is a long and honourable one, inseparable from that of Scottish troops, Highland and Lowland, wherever they have fought, for centuries past. The strains of piob mhor have been heard all over those bloody European battlefields on which Scottish soldiers of fortune died—too often for lost causes—from the time when Buchan's force joined the Lilies of France in 1422, throughout the Hundred Years' War, in the Low Countries, in Germany, in Austria; and they have handed on a tradition which has been lived up to in the later days of the regular Scottish units of the British Army.

But memories are short; and, in the army as elsewhere, the passion for reform before the greatest war of all was threatening many old-established institutions whose utility was not immediately apparent.

And so it came about that to many observers, indeed to a considerable section of military opinion, it appeared likely that along with the kilt, the use of tartan, bonnet, doublet and other special features of the dress of Scottish regiments, the bagpipe must be regarded as a picturesque anachronism destined to disappear as the conditions of war changed and as the yearning of high military authorities for a deadly khaki uniformity of clothing and equipment became more insistent.

"Why," it has often been said, "should Scottish units find it necessary, either in peace or on active service to retain an obsolete musical instrument of their own? In days past, before the rifle had revolutionised tactics, when shooting was erratic at 100 yards' range, there might have been something to say for an instrument which experience showed to be capable of stimulating men at the psychological moment when effort was failing; but is it reasonable to expect that the educated twentieth century soldier will prove to be responsive to any such stimulus—even if it were possible, under modern conditions of rifle and shell fire, to provide it?"

The reply to such a line of argument is clear enough; and its truth has been demonstrated in every action in which Scottish troops have taken part during the war.

The strength of an army depends, to an incalculable degree, on the strength not only of individual regimental esprit de corps, but of the national sentiment of its units. The retention of time-honoured territorial titles in the New Armies, instead of a soulless numbering of units, was itself due to a recognition by the authorities of the principle that the individual soldier is a better fighting man when he feels that he has to live up to an ancient and brilliant regimental record. The Rifleman, even in peace, would never voluntarily be transferred to a "red" regiment, nor does a 10th Hussar yearn for the cuirass of the Life Guardsman. When a man joins a regiment, voluntarily or compulsorily, he adopts for the whole period of his military service the customs, the prejudices, and the traditions of his unit, and is himself moulded by them in a manner which is as inexplicable as it is marked.

And if regimental esprit de corps and tradition are strong, national and territorial sentiment are stronger. In the old army, as a result of the system of recruitment, this factor was of less importance than in the, comparatively speaking, unmixed units of the new army of to-day. All our military history shows that the appeal to such national sentiment is as certain in its effects as the appeal to regimental tradition; and this war has enormously accentuated its importance.

All observers agree—and military despatches confirm the view—that the rivalry of national sentiment has proved invaluable; units, whether battalions or divisions, have literally competed for distinction for their own nationality, and have succeeded in associating particular exploits with themselves for ever. It may truly be said that behind the achievements of the 9th, 15th, 51st and 52nd and Canadian Divisions the motive impulse was national rather than merely regimental.

In the keeping alive of this national sentiment in Scottish units, their distinctive dress and, still more, the retention of the national instrument, have played an important part; and this applies with equal force to units composed of Scotsmen who have left their native land permanently or temporarily.

Throughout the war these units have more than maintained the great traditions of their past history, carrying on the records of Scottish gallantry which have been excelled by no troops in the world and equalled by few.

And so with the pipers.

How important a contributory cause they have been to the success of their battalions is recognized by all alike, men and officers—and not least by the Field Marshal Commanding in Chief. In spite of modern conditions they have, in cases too numerous to record, played the part which was normally theirs in the olden days of set battles.

To many of the men in the ranks the music of the pipes in peace time may have had no special association other than with dances and gatherings; but whenever the piper assumed his historic rôle—so long dormant—of fighting man, the inherited peculiarities of the Scottish soldier were aroused and the music made an overpowering appeal to his national sentiment.

Inherited sympathy of this kind is no doubt inexplicable—but it exists. It certainly cannot be ascribed to the Celtic strain in individuals, for we know that the bagpipe was in general use for centuries all over the Lowlands—perhaps even before it displaced the bard and the harper and became the war instrument of the Highlands. We cannot analyse what Neil Munro describes as "the tune with the river in it, the fast river and the courageous, that kens not stop nor tarry, that runs round rock and over fall with a good humour, yet no mood for anything but the way before it"; we only know that it works on some individuals and some races as no other instrument does, and we need not try to satisfy ourselves whether this is due to the flat seventh in the scale, or the ever-sounding drones, or the inherited memory it arouses.

The idea that the piper would be too conspicuous an object to be employed in his proper capacity has proved to be partly true, as indicated by the casualties among them when playing; but the same argument might be applied to any other soldier in the ranks. Shells show no discrimination in their objective.

To a certain extent this objection is a sound one; but it is all a matter of relative values. Many commanding officers have expressed the opinion that at times when, on account of the all-pervading noise of the battlefield, not a note of his music could be heard by the men nearest to him, it was the actual presence of the piper that supplied the stimulus to the men; in fact, it was the piper, not his instrument, that was followed.

For obvious reasons pipers are harder to replace than the ordinary soldier, and, in trench warfare especially, most regiments have tried to keep them in relative security; but in the records of units which follow it will be seen that, when the trouble comes, the piper has always been to the fore, and "the tune with the tartan of the clan in it" has been heard again as it has for centuries past.

From the military point of view the bagpipe has the merit of accentuating national sentiment at just those moments when the stimulus is most necessary, of rousing the "mir cath," the frenzy of battle, and of rallying men when the ideal is liable to be lost sight of in the presence of the nerve shattering realities of action.

In all these ways the company pipers have justified their existence. In the discharge of a duty which may be regarded as sentimental in the highest sense of the term, they have, literally by hundreds, made the supreme sacrifice; wherever Scottish units have fought these men have exposed themselves, unhesitatingly, recklessly, playing their companies to the attack in conditions which, as regards intensity of personal risk, have never previously been experienced. Many battalions have lost all their pipers more than once, but, as long as reinforcements were available, there has never been any difficulty in getting fresh men out of the ranks or from home to take their place; and the new men have followed the old, just as heedless, as they played their comrades forward, knowing quite well that for many of them the urlar of "Baile Inneraora" or "The March of the Cameron men" might suddenly change to the taorluath of "Cha till mi tuille."

The Germans at least, though they may not recognise the tune when they hear it in the streets of Cologne, appreciated the grim significance of piob mhor when "I hear the pibroch sounding, sounding" followed the lifting of the barrage.

The war also has afforded many instances of another function of the pipes in action. Charging the enemy at a foot pace through deep mud is after all but a "crowded hour of glorious life," which may or may not be completely or even partially successful, and men may have to be rallied when their nerves have given out under intolerable strain. Of this there have been several instances.

It must not, of course, be imagined that regimental pipers, during this or any other war, have been normally employed in playing their units to the attack; the whole condition of modern fighting makes this impossible in the same way and for the same reason that it has made impossible spectacular charges by battalions in line.

It would be a more accurate presentment of the case to say that the military piper, qua piper, normally exercises his functions behind the front line, in billets and on the line of march; and in this respect he resembles other army musicians whose duty—according to old Army Regulations of 300 years ago—is "to excite cheerfulness and alacrity in the soldier."

But, recognising all this, the peculiarity of the piper is that, in open fighting, when his unit has been committed to the attack, he often assumes the rôle which distinguishes him from all other musicians, and takes his place at the head of his company.

Instances of this during the war are innumerable, and those which are detailed below are but typical of what has occurred in every field of operations, and in most units which possessed pipers.

And if it is impossible to say too much of the regimental pipers of the British Army, it is equally so in the case of those of Overseas units, notably of the Canadians. From the point of view of the historian who wishes to demonstrate what pipers have done during this war, no more remarkable case could be selected than that of the 16th Canadian Scottish. The pipers of this distinguished battalion won one V.C., one D.C.M., one Military Medal and Bar, and eight plain Military Medals—a record which is unique. No man was put up for a decoration unless he had played his company over the top at least twice, and no piper was ever ordered to play in action—it was left to volunteers, who, it was found, had to resort to the drawing of lots to obtain the coveted privilege of playing.

The colonel of the regiment—himself a V.C.—commenting on the casualties says: "I believe the purpose of war is to win victories, and if one can do this better by encouraging certain sentiments and traditions why shouldn't it be done? The heroic and dramatic effect of a piper stoically playing his way across the ghastly modern battlefield, altogether oblivious to danger, has an extraordinary effect on the spirit and enterprise of his comrades. His example inspires all those about him."

And so it comes to this: the method of employment of the regimental piper during this war has depended largely on opportunity—and still more on the individuality of commanding officers. Men vary within very wide limits in the price they are prepared to pay for attaining their object; and where one man will deliberately sacrifice a certain number of men to get a position, another will as deliberately avoid the sacrifice, even if it costs him his objective.

As far as pipers are concerned, the decision arrived at by commanding officers of the two schools is equally indicative of the esteem in which they hold them.

A HISTORY OF THE PIPES

At what stages of his development primitive man discovered he could obtain musical sounds by blowing on a hollow reed we cannot now ascertain; if we could do so we could at once determine when the pipe came into existence. It is unprofitable to speculate on this point.

What we do know, however, is that men playing the pipe are portrayed in sculptures the date of which is fixed by the best authorities as about 4000 B.C., and we conclude that in Chaldaea, Egypt, Assyria and Persia at least, the pipe—but not necessarily the bagpipe—had become a recognised musical instrument.

Actual specimens of the Egyptian pipe dating back to at least 1500 B.C. are in existence, and we know that they had a reed giving a scale almost identical with the chromatic scale; they also had a drone. Such a pipe had, clearly, advanced some way on the upward development to "piob mhor."

Every stage in its evolution still persists in some country in the world, and by comparing these it is possible to trace the actual process. Thus, besides the single pipe, which is world-wide in its distribution, we have the Egyptian "arghool," which consists of a pipe "chanter" and drone lying side by side; and the later development, the "zummarah," has a bag. In India the twentieth century snake charmer has an instrument in which chanter and single drone lie side by side fixed into a small gourd with a lump of wax. The chanter has a small reed very similar to our own chanter reeds, and, although the scale differs, the sound produced is remarkably similar. This instrument is essentially a single drone bagpipe, and is to be found all over India, in Yunnan and other parts of China.

It would have been more than surprising if the pipe, in some form or other, had not been used in ancient Greece and Rome. There are, in fact, very many references to it in classical literature, and by 100 A.D. we know that the "askaulos" had evolved into the bagpipe proper, and Chrysostomos speaks of a man who could "play the pipe with his mouth on the bag placed under his armpit."

Martial, Suetonius, Seneca, and other Latin writers refer to the "tibia utricularis," and there is practically no doubt that it was used as a marching instrument in the armies of Julius Caesar. A bronze showing a Roman soldier in marching order playing the utriculus has been discovered in England, and the writer Procopius refers to Roman pipe bands in this country.

But when we come to the question of the introduction of the bagpipe into the British Isles, and especially into Scotland, we are at once on highly controversial ground.

It is obvious enough that the instrument is not peculiar to the Celtic races; that it has maintained its hold on them long after its disappearance in other European nations is equally so. But who introduced it into these favoured isles, whether the Cruithne or Prydani or Picts or the later "C" Gaidheal branch of the Celtic stem—who shall say?

Some authorities—students of the subject would be a safer term—are prepared to assert that the bagpipe was introduced first into England, thence to Lowland Scotland, and only long afterwards into the Highlands; and one recent writer in the Celtic Magazine says the evidence of its association with the Scottish Gaels does not go back beyond the middle of the sixteenth century!

The matter is one of academic interest, no doubt, but there is no likelihood of its ever being settled.

Records did not exist in the ancient Highlands, and we have to turn to early Irish literature for reference to the bagpipe. In the Brehon Laws of the fifth century it is spoken of as the "cuisle"; and, although Tara's halls are usually associated with the harp, it is recorded that at the assemblies which took place there in pre-Christian days it was the custom for the pipes to play at the banquets.^[1]

It is possible the bagpipe was brought over from the north of Ireland, "Scotia" as it then was, on the invasion of the Highlands by Cairbre Riada, who founded the kingdom of Dalriada in Argyle in A.D. 120; or in the later great colonisation, about A.D. 506, under Lorne and Angus, the sons of Ere.

It certainly does not appear likely that the bagpipe came over from "Scotia" in the first place, unless we are to accept the view that the Scottish Celt came over by the same route; unfortunately we have very little accurate knowledge of the early history of the Highlands, and there are no local written records extant to prove—as they do in the case of Ireland—that the instrument existed in those early days. We do know that the harper and the bard were national institutions of immense antiquity in the Highlands, and that, as the bagpipe became an increasingly important feature of everyday life, they were bitterly opposed to it.

Even Latin authors, who were familiar with the bagpipe as a marching instrument in their own army, omit to refer to the existence of piob mhor in the Highlands. The Greek writer Procopius, in 530 A.D., dismisses the Highlands with the statement that "in the west the air is infectious and mortal, the ground covered with serpents, and this dreary solitude is the region of departed spirits." And so we are thrown back on tradition.

In the absence of records of the employment of the bagpipe in war in the Highlands it is to Ireland, the so-called Lowlands of Scotland and to England that we have to turn for information; at the same time we must bear in mind that evolution of the instrument itself had begun to operate, and the English and Lowland pipes were different from the variety now known as the "Highland," which has supplanted all others.

As regards Ireland it is known that the Irish troops who fought in Gascony in 1286 had pipers with them, and a drawing of their instrument appears in a manuscript of 1300 A.D. in the British Museum. There were also Irish pipers at the battle of Falkirk in 1298, and they are again referred to in contemporary accounts of the battle of Creçy.

The military piper therefore goes far back into history. But it was as a social instrument that one finds most frequent reference to bagpipes of some pattern or other in the Middle Ages. There was a pipe band at the English Court in 1327, and an old inventory of 1419 shows that at the Palace of St. James' were "foure baggpypes with pypes of ivorie ... the bagge covered with purple vellat."

But, whereas the English pipes went the same way as the Continental varieties, it was otherwise in Scotland. Two institutions existed there which fostered the tradition and saved piob mhor from the fate of disappearance—the Burgh piper and the Clan piper; and by 1450 A.D. these had certainly become part of the national life.

In Edinburgh in 1487 A.D. there were three town pipers, who were paid three pence daily; one of their duties was "to accompany the toun's drummer throw toun morning and evening." In 1505 A.D. the town records of Dumbarton, Biggar, Wigton, Dumfries and Linlithgow refer to burgh pipers.

In Aberdeen in 1630 A.D. exception appears to have been taken to the custom of playing through the streets, as it is placed on record that this was to be stopped "it being an uncivill forme to be usit uithin sic a famous burghe, and being oftene found fault uith als weill be sundrie niehbouris as by strangeris." That the citizens of this "famous burghe" are peculiarly susceptible to the criticisms of "strangeris" might never have been suspected by superficial observers, and it is well that there is official testimony to the fact.

The effect of their daily music on the inhabitants of Perth was different,—or perhaps Perth was less amenable to the criticisms of "strangeris." In any case it is recorded of a burgh piper, who used to rouse the citizens at 5 a.m., that his music was "inexpressibly soothing and delightful."

At Dundee the piper played through the town "every day in the morning at four hours and every nicht at aucht hours," and was paid twelve pennies yearly by each householder.

The pipes, at least in the pre-Reformation days—were sometimes played in church; in course of time, however, piping on Sunday scandalised the authorities, religious and civil, and, in the burgh records, we find repeated instances of pipers being punished for this misdemeanour.

The burgh piper was a man of peace; the clan piper was a man of war. For many centuries he had to compete with the "clarsair," or harper, and the bard, and aroused feelings of acute hostility from the latter. In 1411 A.D. one bard, MacMhurich of Clan Ranald, wrote a poem of a most uncomplimentary nature about the bagpipes.

The recitation of the bard before battle was probably last heard at Harlaw in 1411, and the clan bards disappeared finally in 1726; the last clan harper died in 1739, and the "croistara"—the fiery cross—was sent round the clans for the last time in the '45. The last Scottish piper will pass when the Scottish race itself passes—which will certainly be the last of all.

The clan pipers were highly esteemed as musicians—from the musical point of view they, no doubt, left us far behind. The courses of training, lasting over years, at the old piping schools such as existed at Boreraig, turned a man into a piper. As Neil Munro has it: "To the make of a piper go seven years of his own learning and seven generations before; at the end of his seven years one born to it will stand at the start of knowledge, and, leaning a fond ear to the drone, he may have parley with old folks of old affairs."

One of the results of the Heritable Jurisdiction Act of 1747, which so completely altered the conditions of life in the Highlands, was the disappearance of the office of hereditary clan piper.

The tunes these men played were the old tunes we know so well; and so it has happened that in this war we find companies marching into and through machine-gun and artillery barrage and into broken French villages and through German trenches while the company piper plays the same melodies that inspired their forebears to fight their neighbours lang syne—melodies which have been heard, too, in the same part of the world in the days when Scottish troops fought for the Lilies of France against all comers.

The association of the bagpipe with military operations is probably very ancient in Scotland. Perhaps the tradition that the Menzies pipers played at Bannockburn rests on an insecure foundation, but if the Bruce had no pipers, his son David most certainly had, as witness the Exchequer Rolls. In 1549 a French writer states that "the wild Scots encouraged themselves to arms by the sound of their bagpipes"; and in 1598 Alexander Hume of Logie wrote:

"Caus michtilie the warlic nottes brake

On Heiland pipes, Scottes and Hyberniche.

Incidentally, this reference to three different kinds of pipes is interesting.

The first authentic reference to pipers in the Forces of the Crown appears to have been in 1627, when Alex. Macnaughton of Loch Fyne-side was commissioned by King Charles I. to "levie and transport twa hundredthe bowmen" for service in the French war. Writing in January 1628 to the Earl of Morton, Macnaughton says:

"As for newis from our selfis, our baggpyperis and marlit plaidis serwitt us in guid wise in the pursuit of ane man of war that hetlie followed us."

The records show that this company had a harper, "Harrie M'Gra frae Larg," and a piper, "Allester Caddell," who, in accordance with the custom of the time, had his gillie to carry his pipes for him.

Regimental pipers undoubtedly existed in the numerous bodies of Scottish troops which served at various times on the Continent. Thus, in 1586, in the "State of War" of Captain Balfour's company in the Scots Brigade in Holland, there were two drummers and a piper; and in "the worthy Scots regiment called Mackeye's" raised by Sir Donald Mackay in 1626 there was an establishment of thirty-six pipers.

Pipers are also found on the rolls of the "regiment d'Hebron"—now the Royal Scots—and to that very distinguished regiment we may safely accord the further distinction of being the first "Regular" regiment of the British Army to have pipes. The "North British Fusiliers," now one of the battalions of the Royal Scots Fusiliers, also had pipes as far back as 1678, and probably as early as 1642.

Writing in 1641, Lord Lothian said:

"I cannot out of our armie furnish you with a sober fiddler.... We are sadder and graver than ordinarie soldiers, only we are well provided with pypers. I have one for every company in my regiment, and I think they are as good as drummers."

The great Montrose had pipers in his armies, and tradition has it that, in the action of Philiphaugh in 1645, a piper stood on a small eminence and played the old Cavalier tune, "Whurry, Whigs, awa' man," until he was shot by one of Leslie's men, and fell into the "Piper's Pule" in Ettrick river.

An exactly similar incident occurred in the case of one of the pipers of Bonnie Dundee at Bothwell Brig in 1679.

At the Haughs o' Cromdale in 1690 a wounded piper climbed on to a big rock and went on playing till he died, thus setting an example which has been followed by his successors in many actions in this war. The stone on which this unknown hero stood is known to this day locally as "Clach a phiobair."

There are many such in France and elsewhere to-day.

In Wodrow's letters in 1716 there is a reference to the company pipers of the "Argyle's Highlanders": "They entered in three companies, and every company had their distinct pipers, playing three distinct springs. The first played "The Campbells are coming" ... and when they entered Dundee the people thought they had been some of Mar's men, till some of the prisoners in the Tolbooth, understanding the first spring, swung the words of it out of the windows, which mortified the Jacobites."

Again, in 1715, when Argyle's troops marched to Leith, it was stated by Cockburn (Historical MSS. Commission): "While our generals were asleep the rebels marched to Seton House, leaving the piper in the citadel to amuse."

The piper, by this time, had clearly become a recognised military institution.

In the '45 the unfortunate Sir John Cope was undoubtedly aroused by the music of piob mhor at Prestonpans, though it is doubtful whether "Hey Johnnie Cope" was composed for the occasion.

Prince Charlie had thirty-two pipers of his own, besides those belonging to the clans with him. One of these men, James Reid, was taken prisoner in the operations of 1746. He pleaded that he had not carried arms, but the Court decided that "no Highland regiment ever marched without a piper: therefore his bag pipe, in the eye of the law, was an instrument of war"—and they dealt with him accordingly.

This view was confirmed by the Disarming Act of 1747, which nearly succeeded in attaining its object of abolishing the bagpipe, the kilt, the tartan and national sentiment generally—only Regular regiments being exempted from its operation.

Penal legislation against the bagpipe was no new thing. Cromwell had tried it in Ireland, and, under William II., 600 Irish pipers and harpers were persecuted with relentless rigour. And in Ireland it succeeded.

Saxon governments have always done the piper the honour of regarding him as an exponent and supporter of national sentiment.

Even in Scotland the years between 1747 and 1782, when the iniquitous Disarming Act was repealed, were very nearly fatal to the continued existence of the bagpipe as a national institution; and it was the Regular Army which saved it—though no one could ever accuse the military authorities of unduly favouring the instrument. Even General Officers have publicly sneered at them—as when Wolfe at Quebec contemptuously refused to allow the pipes of the Fraser Highlanders to play, or when Sir Eyre Coote in 1778 described them as a "useless relic of the barbarous ages."

Both generals had to withdraw what they had said.

The opinion of the Court Martial which tried poor James Reid, that his bagpipe "was, in the eye of the law, an instrument of war," was after all as shrewd an expression of the truth as their sentence was harsh.

In later times the pipes in the army have received little official recognition. In 1858, when the King's Own Scottish Borderers applied for their pipers to be placed on the establishment, the Commander in Chief grudgingly consented "as the permission for these men is lost in time," but on condition that they were not to cost the public anything as regards their clothing.

Nor has the modern War Office shown more sympathy to an institution whose value, even on theoretical grounds, should have been recognised. The ancient and honourable title of Pipe Major has been abolished and that of "sergeant piper" has been substituted. Pipers themselves, on mobilisation, are returned to the ranks with the exception of six men. In Lowland regiments, indeed, the piper, though tolerated, is not officially recognised at all.

A bandsman may in due course become a first-class warrant officer—in one or two units, indeed, he has attained commissioned rank; but the "sergeant piper" remains a sergeant, and can hope for nothing more. This, surely, is an injustice which is remediable at small cost to the nation.

The apathy of the War Office in regard to the training of pipers as pipers is another matter which is in urgent need of reform. Commanding officers and pipe presidents are sometimes pipers themselves—though not always; it is absurd to leave to them the responsibility of training men in the art. The time has come for a thorough reform of the whole system and method of training of military pipe bands.

THE PIPES IN THE WAR, 1914-1918

THE WESTERN FRONT

During the autumn^[2] and winter of 1914-15 pipers, for obvious reasons, had few opportunities of attracting much attention, still less of performing their highest duty, viz. playing their companies into action. They were necessarily, on account of the extreme shortage of men, for the most part employed in the ranks; and in many of the old Regular battalions pipe bands disappeared altogether.

For a time it seemed that the critics were right, and that in warfare in the twentieth century there was no longer a place for a class of man which was destined to disappear, as the bard and the harper had done in days lang syne.

This view was widely held, and in some regiments was never modified.

But gradually, as attacks became more frequent and movements set in, and as the British Army grew stronger in numbers, the position changed, and the piper became more than an invaluable marching instrumentalist or performer at ceilidhs in billets.

The first occasion on which pipers played, or tried to play, their companies into action was at Cuinchy on 25th January 1915, when the 1st Black Watch suffered such heavy casualties in advancing through deep mud up to their knees.

It was at Neuve Chapelle in March 1915 that the company piper really had his first chance of showing what he could do, as a piper, in action. On this occasion the 20th Brigade had to carry the stronghold of Moulin du Piètre, and lost very heavily; the 2nd Gordons were in the main attack and the 6th Gordons, a Territorial unit, in reserve. The 6th Gordons were called upon to support their comrades of the old Regular Army, and advanced, headed by their pipes and drums, with a rush which carried many of them beyond their objective.

From that time onwards, right up to the end of the war, pipers have repeatedly played their units into action, in spite of the unfavourable conditions resulting from modern rifle and artillery fire and gas, and have established the standard of gallantry in this respect which has been at once the admiration of all observers and an incentive to their successors to emulate them.

During the first weeks' heavy fighting, in April-May 1915, on the left of the attenuated British line of the Ypres salient, the pipers of Canadian battalions took a prominent part. In their advance on the St. Julien wood the 16th Canadians were led by their company pipers, two of whom were killed and two wounded while playing; their places were at once taken by others, who played the battalion through the German trenches at the heels of the retiring enemy to the tune "We'll tak' the guid auld way." In many subsequent actions these men distinguished themselves in the same way.

After the failure of the first attack on the German line at Rue des Bois on 9th May 1915, in the action of Richebourg-Festubert, the 1st Black Watch were played to a fresh attack by their company pipers. "With their characteristic fury they had vanished into the smoke, and the only evidence that remained was the sound of the pipes." When they reached the German trenches a piper, Andrew Wishart, stood on the parados playing until he was wounded. Another piper, W. Stewart, was awarded the D.C.M. on this occasion.

The same thing happened in the case of the 2nd Black Watch at Festubert, the companies being led by their pipers. Of these men two, Pipers Gordon and Crichton, were specially mentioned for their gallantry. The Seaforth pipers, too, suffered heavily in this as in many later actions—"Caber Feidh" has often been heard along that line which looked so weak, but was too strong for the Germans.

In the action at Festubert on the 17th May the 4th Camerons got further than any other battalion, and were played in by their pipe major, J. Ross, and four pipers. These men got through untouched, though their pipes were all injured.

Later again, on 16th June 1915, when the Hooge salient was straightened by the 3rd Division, the attack was led by the 8th Brigade, and the enemy front and support lines were taken. On this occasion Pipe Major Daniel Campbell, although wounded, played his battalion, the 1st Royal Scots Fusiliers, over the top.

Dawn was just breaking when the Pipe Major scrambled out on the parapet and started playing. The men raced forward after him until stopped by uncut wire. In the hand-to-hand fighting which ensued the Pipe Major threw aside his pipes and, catching up a bayonet, joined in the attack.