Editing Romanticism (section)

====Scotland====
{{Main|Romanticism in Scotland}}
[[File:PG 1063Burns Naysmith.jpg|thumb|upright|right|[[Robert Burns]] in [[Alexander Nasmyth]]'s portrait of 1787]]
Although after [[Acts of Union 1707|union with England]] in 1707 Scotland increasingly adopted English language and wider cultural norms, its literature developed a distinct national identity and began to enjoy an international reputation. [[Allan Ramsay (poet)|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]].<ref>J. Buchan, ''Crowded with Genius'' (London: Harper Collins, 2003), {{ISBN|0-06-055888-1}}, p. 311.</ref> [[James Macpherson]] (1736–1796) was the first Scottish poet to gain an international reputation. Claiming to have found poetry written by the ancient bard [[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 appreciation of natural beauty and treatment of the ancient legend has been credited more than any single work with bringing about the Romantic movement in European, and especially in German literature, through its influence on [[Johann Gottfried von Herder]] and [[Johann Wolfgang von Goethe]].<ref>J. Buchan, ''Crowded with Genius'' (London: Harper Collins, 2003), {{ISBN|0-06-055888-1}}, p. 163.</ref> It was also popularised in France by figures that included [[Napoleon]].<ref>H. Gaskill, ''The Reception of Ossian in Europe'' (Continuum, 2004), {{ISBN|0-8264-6135-2}}, p. 140.</ref> Eventually it became clear that the poems were not direct translations from [[Scottish Gaelic]], but flowery adaptations made to suit the aesthetic expectations of his audience.<ref>D. Thomson, ''The Gaelic Sources of Macpherson's "Ossian"'' (Aberdeen: Oliver & Boyd, 1952).</ref>

[[Robert Burns]] (1759–96) and [[Walter Scott]] (1771–1832) were highly influenced by the Ossian cycle. Burns, an Ayrshire poet and lyricist, is widely regarded as the [[national poet]] of Scotland and a major influence on the Romantic movement. 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>L. McIlvanney, "Hugh Blair, Robert Burns, and the Invention of Scottish Literature", ''Eighteenth-Century Life'', vol. 29 (2), Spring 2005, pp. 25–46.</ref> Scott began as a poet and also collected and published Scottish ballads. His first prose work, ''[[Waverley (novel)|Waverley]]'' in 1814, is often called the first historical novel.<ref>K. S. Whetter, ''Understanding Genre and Medieval Romance'' (Aldershot: Ashgate, 2008), {{ISBN|0-7546-6142-3}}, p. 28.</ref> It launched a highly successful career, with other historical novels such as ''[[Rob Roy (novel)|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.<ref>N. Davidson, ''The Origins of Scottish Nationhood'' (Pluto Press, 2008), {{ISBN|0-7453-1608-5}}, p. 136.</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|0-8160-7496-8}}, p. 374.</ref> 
[[File:Sir Henry Raeburn - Portrait of Sir Walter Scott.jpg|thumb|upright|[[Henry Raeburn|Raeburn]]'s portrait of [[Walter Scott]] in 1822]]  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), which 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|0-631-23355-5}}, 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|0-7546-6446-5}}, p. 210.</ref> Ian Duncan and Alex Benchimol suggest that publications like the novels of Scott and these magazines were part of a highly dynamic Scottish Romanticism that by the early nineteenth century, caused Edinburgh to emerge as the cultural capital of Britain and become central to a wider formation of a "British Isles nationalism".<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|0-7546-6446-5}}, p. 209.</ref>

Scottish "national drama" emerged in the early 1800s, as plays with specifically Scottish themes began to dominate the Scottish stage. Theatres had been discouraged by the [[Church of Scotland]] and 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 drama]]s", primarily designed to be read, rather than performed, including work by Scott, Hogg, Galt and [[Joanna Baillie]] (1762–1851), often influenced by the ballad tradition and [[Gothic fiction|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|0-7486-2481-3}}, pp. 229–30.</ref>