ABSTRACT
The same cultural nationalism which prompted Robert Burns, James Hogg, John Leyden and Alexander Campbell to travel widely in pursuit of their heritage of songs and airs, also provoked the urge to create Scottish songs in a style that would be seen as typical of the locality. This chapter addresses the question of invention and 'fakery'. It particularly looks at the issues as they are revealed in musical collections of the second and third decades of the nineteenth century, where there is clear evidence of Hogg and R. A. Smith not only actively changing songs, but creating fresh ones. Moving beyond the scope of the chapter, one might note that both Margaret Russett and Susan Stewart cite several examples of the 'found manuscript' as a literary form, such as James Hogg's own The Private Memoirs and Confessions of a Justified Sinner, which was based on the theme of a 'manuscript' found in a field by a shepherd.
