Hugh MacDiarmid the pseudonym of Christopher Murray Grieve one of the most important poets in Scottish history was born on August 11, 1892, in Langholm, Dumfriesshire where his father worked as a postman .
He attended school at Langholm Academy, and among his teachers was the composer Francis George Scott, who would later set many of Hugh MacDiarmid's lyrics to music. From Langholm, Grieve moved on to become a student-teacher at a school in Edinburgh. Here his literary abilities were recognised and encouraged by George Ogilvie, whose played an influential part in Grieve's life for many years.
Having entered journalism, he began his writing career as a journalist in Wales,contributing to the socialist newspaper The Merthyr Pioneer run by Labour party founder Keir Hardie.
He enlisted in the Royal Army Medical Corps in 1915 serving as a non-combatant in Salonika, Greece and France. As a soldier in the war, he developed both an intense hatred of the British empire as well as a profound sympathy for his fellow Celts, especially the Irish, whose leaders were being killed in the wake of the Easter Rising: “The picture of Casement hanged, and Connolly taken out on a stretcher to be executed, are two of the great rallying points of my spirit in its eternal and immeasurable hatred of everything English”.
He survived the war and was relieved from service suffering from cerebral malaria. He survived that and became a full-time journalist in Scotland, and married Margaret Skinner. The couple settled in Montrose where Grieve worked for the Montrose Review, becoming also a town councillor and Justice of the Peace.
It was in Montrose in 1922 that Grieve created MacDiarmid, the most famous of his many pseudonyms. Other pseudonyms used by MacDiarmid included Isobel Guthrie, A.K. Laidlaw, Arthur Leslie, Gillechriosd Mac a’Greidhir and James Maclaren.
As editor and publisher he produced the anthology Northern Numbers (1920−2), and the magazines Scottish Chapbook (1922−3), Scottish Nation (1923) and Northern Review (1924). His first published work as author, Annals of the Five Senses, a collection of avant-garde short stories and poetry, appeared under his family name of Grieve in 1923. However he found his true voice as the poet Hugh MacDiarmid when, influenced by Jamieson’s Etymological Dictionary of the Scottish Language, he began to write experimental lyrics in Scots.
According to Douglas F. Young, even at this early stage in his career, there was an expressed ambition in MacDiarmid to place his poetic talents at the service of Scottish independence: The whole issue of political nationalism in Scotland at this time was linked with the question of nationalism in literature. Thus MacDiarmid, with his faith in the individuality of the Scottish people, was leading a campaign for the revival of a national literature which would reflect this Scottish individuality and would be written in a language distinctively Scottish.
In the 1920s, MacDiarmid rejected English in favour of Lallans, a hybrid or ‘synthetic’ Scots, in which he wrote his masterpieces Sangschaw (1925), Penny Wheep (1926),and A Drunk Man Looks at the Thistle (1926) His mission was nothing less than the cultural reawakening of a Scotland he saw mired in material and spiritual poverty – a tartan-waving, kilted-kitsch, Burns-night parody of itself distracted by football and religion.
MacDiarmid hurled poetic abuse not at Robert Burns https://teifidancer-teifidancer.blogspot.com/2021/01/celebrating-radical-robbie-burns.html but at the Burns night celebrants who ignored the realities of Scotlands’s social deprivation and the work and words of Burns himself.
“Mair nonsense has been uttered in his name/ Than in ony’s barrin liberty and Christ.” (More nonsense has been uttered in his name/ Than in anyone’s barring liberty and Christ.) He castigated the self-satisfied and sentimental Burns nighters for their ignorance of the language. He argued: “No wan in fifty kens a wurd Burns wrote.”
Soon recognized as the major Scots-language poet since Burns, MacDiarmid inspired other poets such as Sydney Goodsir Smith and William Soutar to take up Scots as a literary medium.His attempt to establish a unified and standardised written form of Scots, in order to prevent a shift toward Standard English writing, met with approval as well as criticism. Poet Edwin Muir https://teifidancer-teifidancer.blogspot.com/2013/02/edwin-muir-1551887-3159-orkneys.htmlwas particularly opposed to his use of Lallans, believing that “Scotland can only create a national literature by writing in English”. In the 1930s, however, MacDiarmid ret urned to English,claiming it to be a superior medium for expression.
In 1931 MacDiarmid's highly influential poem First hymn to Lenin was published. In the same year his wartime marriage ended in divorce, and he suffered extreme psychological alienation and physical breakdown.
Grieve then married his second wife, Valda Trevlyn and in 1933 the Grieves moved to the island of Whalsay in Shetland, with their young son Michael where they would live for the next nine years.
The family stayed in a few temporary houses before settling down in a humble little cottage at Sodom. This cottage was to be their home for the next nine years. Christopher was not a practical man, and on an island where almost everybody did demanding physical work to survive, he was seen as something as an oddity. The family were often helped by the Whalsay folk. People gave them food and, on one occasion, a man called Walter Robertson tried to teach Christopher how to cast peats. It was not a success. The Grieves lived in poverty for most of their time on the isle.
Christopher came to be called ‘Aald Grieves’ by his neighbours, but he is better known to the world by his nom de plume Hugh MacDiarmid, one of the most revered and controversial poets Scotland has ever produced.
The Whalsay people thought Christopher didn’t do much in the way of real work. But, in his nine Shetland years, MacDiarmid spent thousands of hours with a pen in his hand, writing long, complex poems that were sometimes inspired by the rocky landscapes he encountered in the isles.
In 1934 Grieve/MacDiarmid published three books: Scottish Scene, in collaboration with Lewis Grassic Gibbon; a collection of essays, At the Sign of the Thistle; and in Stony Limits (1934) and Second Hymn to Lenin (1935), in which he rejected the lyricism of his early volumes in a favour of an austere, philosophical diction.
The latter including a critical poetic dialogue with the Soviet leader on the complementary relationship between poetry and politics: Ah, Lenin, you were richt. But I’m a poet (And you c’ud make allowances for that!) Aimin’ at mair than you aimed at Tho’ yours comes first, I know it. … Are my poems spoken in the factories and fields, In the streets o’ the toon? Gin they’re no, then I’m failin’ to dae What I ocht to ha’ dune. Gin I canna win through to the man in the street, The wife by the hearth, A’ the cleverness on earth’ll no’ mak’ up For the damnable dearth. … Wi’ Lenin’s vision equal poet’s gift And what unparalleled force was there! Nocht in a’ literature wi’ that Begins to compare.
Although an uncompromising advocate of class struggle, MacDiarmid always expressed strong pacifist feelings in his poetry, not least in reaction to the murderous waste of the lives of young Scottish soldiers who had made up the backbone of the imperial British army since the early nineteenth century.
“A Drunk Man Looks at the Thistle”, which MacDiarmid published in 1926 is a long highly experimental modernist work, written in sometimes obscure Scots dialect, containing a wide-ranging meditation on the condition of contemporary Scotland,
It has been singled out as MacDiarmid’s most sustained, if challenging, poetic achievement, on a par with Finnegan’s Wake by James Joyce, the Irish writer he most admired. Here’s an excerpt where he gives what for to Burns fans.
You canna gang to a Burns supper even
Wi’oot some wizened scrunt o’ a knock-knee
Chinee turns roon to say, “Him Haggis—velly goot!”
And ten to wan the piper is a Cockney.
No’ wan in fifty kens a wurd
Burns wrote But misapplied is a’body’s property,
And gin there was his like alive the day
They’d be the last a kennin’ haund to gie—
Croose London Scotties wi’ their braw shirt fronts
And a’ their fancy freen’s, rejoicin’
That similah gatherings in Timbuctoo,
Bagdad—and Hell, nae doot—are voicin’
Burns’ sentiments o’ universal love,
In pidgin’ English or in wild-fowl Scots,
And toastin’ ane wha’s nocht to them but an
Excuse for faitherin’ Genius wi’ their thochts.
You can listen to the full poem here.
In 1936 Grieve's book Scottish Eccentrics was published, with the glaring omission, a friend commented, of a chapter on Grieve/MacDiarmid himself. And in 1939 he published The Islands of Scotland, a personal view of the Hebrides, Orkney, and Shetland.
Hugh MacDiarmid remains a controversial and influential figure. Turbulence was a feature of all aspects of MacDiarmid’s life. He flirted with fascism and in 1923 wrote two essays entitled 'A Plea for a Scottish Fascism' and 'A Programme for Scottish Fascism' both of which seemed to praise Italian dictator Benito Mussolini. But by 1928 he was a member of the Communist Party of Great Britain. That same year, he founded the National Party of Scotland but was ironically booted out both that and the Communist Party for being a member of the other.
At one time MacDiarmid believed that a Nazi invasion of Britain would benefit Scotland. In June 1940, he wrote to fellow communist Sorley MacLean: “Although the Germans are appalling enough, they cannot win, but the British and French bourgeoisie can and they are a far greater enemy. If the Germans win they could not hold their gain for long, but if the French and British win it will be infinitely more difficult to get rid of them.”
In a letter sent in April 1941, he wrote: “On balance I regard the Axis powers, tho’ more violently evil for the time being, less dangerous than our own government in the long run and indistinguishable in purpose.”
He was prone to extremes and sometimes to extremist and absurdist positions. In a posthumously published poem he posed the question: “Is a Mussolini or a Hitler / Worse than a Bevin or a Morrison”? – referring to Britain’s wartime Minister of Labour and Home Secretary – democratic socialists who believed in, and fought for, the welfare state.
George Orwell named him as a Stalinist and put him on his 1949 list of “crypto-communists” and “fellow travellers”and was under surveillance by MI5 for many years. In a poem published after his death, he expresses indifference to the Nazi bombing of London. MacDiarmid had a pattern of firing off positions, opinions, ideas, and antagonisms
His autobiography, published in 1943 was entitled Lucky poet: a Self-Study in Literature and Political Ideas. It was a highly individual book, combining prose and poetry in a way that many found irritating, but most also found fascinating.
MacDiarmid’s anti-war feelings are perhaps more accessibly expressed also in a number of shorter poems in English, such as “The War Memorial”, inspired by the sight of the grey stone cenotaphs raised in almost every town and village in Scotland to remember the war dead – and forget those who survived: We knew them – queer that side by side in the ranks The immortal heroes alone should all have been slain And only the worthless, the unemployables, the scum Like us spared to come home again. … They make a fine fuss about them now they are dead; If they’d survived it would be a different story. They would be treated just as we are, like dirt, With no bunkum at all about honour and glory.
During the Second World War, MacDiarmid expressed similar concerns about the continuing sacrifice of Scottish people. In one such poem, “German Bombers”, written during the Blitz attacks on British cities, he noted the glaring discrepancies between north and south. Unlike around London, there were no air-raid defences to protect the inhabitants of Edinburgh, the Scottish capital: The German bombers came up the Forth And unchallenged all day o’er Edinburgh flew While not in Edinburgh but only in London The air-raid warning siren blew. … The English don’t give a curse so long as England’s all right, And from Scotland to that end withdraw all Scotland’s might On lying pretexts, while the Scots themselves, poor fools, Are content in Scotland’s betrayal to be England’s tools.
Historically, the collective punishment of Scottish people at the hands of the English was made bitterly clear during what became known as the “Highland Clearances”. After the union with England in 1707, there were several uprisings in the Highlands by the Scots who fought to regain their independence. However, after the decisive victory over the rebellious clans at the battle of Culloden (1746), https://teifidancer-teifidancer.blogspot.com/2013/04/culloden-shoulder-of-lamentation.html the English proceeded to physically clear the Highlands of its inhabitants in what can only be described state-sponsored genocide. English soldiers marched through the glens burning homes, raping and murdering their occupants.
In the nineteenth century this barbaric policy of ethnic cleansing continued with the remainder of the Highlanders either recruited by the army or shipped off to the colonies. It is disturbing to note that there were more people living in the Highlands in the 1700s than there are today. Moreover, in the last waves of evictions, the people were often betrayed by their own landowning lairds, as John Prebble concludes in his comprehensive historical documentation of these tragic events: At Culloden, and during the military occupation of the glens, the British government first defeated a tribal uprising and then destroyed the society that had made it possible. The exploitation of the country during the next hundred years was within the same pattern of colonial development – new economies introduced for the greater wealth of the few, and the unproductive obstacle of a native population removed or reduced. In the beginning the men who imposed the change were of the same blood, tongue and family as the people. They used the advantages given them by the old society to profit from the new, but in the end they were gone with their clans. The Lowlander has inherited the hills, and the tartan is a shroud.
Living for long periods on the “cleared” Shetland Islands, MacDiarmid became fully aware of this historic crime perpetrated by an unholy alliance between English and Scottish capitalists. In his own poetic response to this national tragedy, MacDiarmid reached out to the ordinary Scots folk, those who more often than not found themselves on the violent receiving end of history.
MacDiarmid’s Scottish nationalism was always grounded in democratic socialism. It was this ideological combination that transformed his Celtic individualism into revolutionary activism. His poetry could therefore be both lyrical, elevating the everyday “speak” of the people, as well as agitational, summoning the nation to break the chains of foreign domination. After the last clan rebellion of the eighteenth century, the speaking of Gaelic, the wearing of the kilt and playing the bagpipes were all banned by the British government as representing symbolic acts of war.
It is not surprising therefore that a movement of historically informed cultural resistance has surfaced today in the form of speaking Gaelic (a language development MacDiarmid always hoped for) as part of a new and defiant Scottish political identity.
MacDiarmid’s own radical working-class sensibilities continued to be refined throughout his adult life – as a soldier, a schoolteacher, a journalist and factory worker living in Glasgow. As a poet however, he remained relatively isolated, marginalized by the literary establishment in Edinburgh and London. Most of his work appeared in small literary magazines or in anthologies with limited editions. It wasn’t until later that he began to receive some critical (and economic) recognition.
However, his maverick amalgamation of Marxism and radical nationalism always made him an awkward public figure, as he himself admitted in his autobiographical poem “The Outlaw”: I am the outlawed conscience of Scotland, The voice that must not be heard, The bane of all time-servers and trimmers, Helot-usurpers of the true aristocracy of awareness.
He stood for the SNP in the 1945 general election for Kelvingrove South, winning 1,314 votes, and five years later as an independent, being backed by just 639 voters. He stood for the Communist Party in the 1964 general election against Prime Minister Alec Douglas-Home in Kinross and West Perthshire but managed less than 130 votes.
TV footage of him in the 1970s shows him boasting about being an Anglophobe - someone with a strong dislike of the English. In a conversation about devolution, he also claimed Scottish voters don't "know what they want". he added: "...until quite recently Scottish schools, colleges and universities had no courses in Scotland literature or the Scottish languages. Now, we're entirely conditioned by English standards. "I want to break away from that, I want complete disjunction from England. I appeared in Who's Who for the last 40 years or so and given my hobby as Anglophobia. That's not a Scottish peculiarity. It's common all over the world."
The white rose sported by SNP MPs comes from MacDiarmid's poem The Little White Rose. One line states: "The rose of all the world is not for me. I want for my part. Only the little white rose of Scotland. That smells sharp and sweet—and breaks the heart."
As a follower of the Scottish revolutionary socialist John Maclean, he saw no contradiction between international socialism and the nationalist vision of a Scottish workers' republic, but this ensured a fraught relationship with organized political parties.
MacDiarmid described MacLean as “the greatest leader of the working class of Scotland have yet had”. In a speech commemorating his early death in 1923, MacDiarmid celebrated MacLean as a revolutionary whose socialist vision remained an essential point of departure for the struggle for an independent Scotland: He was not a straw man blown hither and thither by the wind of party politics. He had the supreme disqualification of thinking for himself on the basis of a thorough grasp of Marxist philosophy. The most advanced elements of the working class in Scotland owe him an enormous debt. Whether they like it or not they are going to have to discharge that debt now – or suffer the consequences. There is no other way. John MacLean was far in advance of his time. But he died over fifty years ago – and only now is an important section of socialist thought in Scotland beginning to catch up with him. It is not too late.
In his poem, “Talking with Five Thousand People in Edinburgh”, MacDiarmid defined his own ideological position as that of a nonconformist Marxist, a status he cultivated throughout his life. It was clearly a radical space he thought necessary to both his poetry and his politics: For I am like Zamyatin. I must be a Bolshevik Before the Revolution, but I’ll cease to be one quick When Communism comes to rule the roost, For real literature can exist only where it’s produced, By madmen, hermits, heretics, Dreamers, rebels, skeptics, And such a door of utterance has been given to me As none may close whosoever they be.
In his post-war poetry, he increasingly shunned the personal and subjective in favour of open-ended epics such as In Memoriam James Joyce (1955) and The Kind of Poetry I Want (1961) which celebrated political and scientific materialism.
In all Grieve/MacDiarmid published around 30 books and many shorter works and articles. The poetry he produced in his later life is often viewed as difficult and inaccessible, but brilliant. The two volume Complete Poems, published after Grieve's death, ran to 1500 pages.
MacDiarmid continued to inspire younger Scottish poets and in the 1950s and 1960s was at the heart of the group, including Sydney Goodsir Smith, Norman MacCaig and George Mackay Brown, which met in Edinburgh's legendary literary pub, Milne's Bar.
To his enemies, MacDiarmid’s adoption of a Scottish language was as fabricated as his name; he was a false prophet; an apologist for dictators and a stooge of tyranny. To his supporters, he was a champion of authentic Scottish culture and of the revival of national pride based not on tartan-waving mythology but on reality and a vision of a better future that was both nationalist and internationalist.
For all his faults, it was he who proved great literature could still be crafted from the Scots dialect; he catalysed pride in a distinctively Scots culture that was in danger of being swamped and he was also a very talented poet.
He lived in relative poverty for most of his long life. and moved with his wife to Biggar in 1951 and that was where died on on 9th September 1978 of cancer on 9 September, 1978, in Chalmers Hospital, Edinburgh..
Christopher Murray Grieve was buried at Langholm. To the east of the town a minor road climbs steeply out of the valley. As it crosses Whita Yett, a short path from a parking place leads to the striking memorial to Hugh MacDiarmid. The memorial is the work of Jake Harvey and was unveiled on 11 August 1985. Made of steel and bronze, it is in the form of an open book, highly decorated with images from MacDiarmid's poetry.
Nearby is a cairn carrying a verse by MacDiarmid and noting that "Christopher Murray Grieve (Hugh MacDiarmid) was a man of Langholm, a champion of Scotland, a fervent internationalist and one of the great poets of the world." MacDiarmid remains an important figure among Scottish literary circles as well as among nationalists for reviving and renewing Scots as a poetic language.
Margaret Tate‘s sympathetic 1964 film portrait captures the essence of MacDiarmid. Seen in a domestic setting (and in evocative black-and-white), he reads three short poems, “You Know Who I Am”, “Somersault”, and “Krang”, along with some lines from “The Kind of Poetry I Want”. (the music in the film is Francis George Scott‘s setting of MacDiarmid’s “The Eemis Stane”, sung by Duncan Robertson with piano accompaniment by Olive Ogsten).
Here is a profile from 1972 of Hugh MacDiarmid on the occasion of his 80th birthday. In this film he talks about his uncompromising life and the ideas and circumstances that have shaped its progress.

