ABSTRACT
A French professor of English is often accredited with coining the term 'Scottish Renaissance' in its usage to signify the cultural movement led by Hugh MacDiarrnid. The narrowness and philistimsm Roderick Watson found in the Scottish bourgeoisie are 'the most important aspects of his work and ones which do require further development in Scottish dramatic writing. Drama is the genre in which Scottish writers have shown least distinction. If the reception of John Home's Douglas can be gauged by the enthusiast in the audience who called out, 'Whaur's yer Wullie Shakespeare noo?’ its success was greater than its merit, though it did wonders for the Scottish reputation of Mrs Sarah Siddons as the despairing, suicidal Lady Randolph. Nothing in Scottish 'legitimate' theatre compared for vitality with the developing music-hall or variety theatre until J. M. Barrie's success on the London stage with The Little Minister seemed to augur a new playwright of exceptional promise.
