Mid Northern Scots

Doric, the popular name for Mid Northern Scots or Northeast Scots, refers to the Scots language as spoken in the northeast of Scotland. There is an extensive body of literature, mostly poetry, ballads, and songs, written in Doric. In some literary works, Doric is used as the language of conversation while the rest of the work is in Lallans Scots or British English. A number of 20th and 21st century poets have written poetry in the Doric dialect.

Nomenclature

The term "Doric" was formerly used to refer to all dialects of Lowland Scots, but during the twentieth century it became increasingly associated with Mid Northern Scots.

The name possibly originated as a jocular reference to the Doric dialect of the Ancient Greek language. Greek Dorians lived in Laconia, including Sparta, and other more rural areas, and were alleged by the ancient Greeks to have spoken laconically and in a language thought harsher in tone and more phonetically conservative than the Attic spoken in Athens. Doric Greek was used for some of the verses spoken by the chorus in Greek tragedy.

According to '' The Oxford Companion to English Literature'':

:"Since the Dorians were regarded as uncivilised by the Athenians, 'Doric' came to mean 'rustic' in English, and was applied particularly to ''the language of Northumbria and the Lowlands of Scotland'' and also to the simplest of the three orders in architecture." Drabble, Margaret (ed.) '' The Oxford Companion to English Literature'' (fifth edition, 1985)

18th-century Scots writers such as Allan Ramsay justified their use of Scots (instead of English) by comparing it to the use of Ancient Greek Doric by Theocritus. English became associated with Attic.

Phonology

Most consonants are usually pronounced much as in other Modern Scots dialects but:

*In Buchan the cluster cht, also ght, may be realised in some words, rather than as in other dialects, for example: ''dochter'' (daughter), (might) and ''nocht'' (nought), often written ''dother'', ''mith'' and ''noth'' in dialect writing.
* The clusters gn and kn are realised and , for example ''gnaw'', ''gnap'', ''knee'', ''knife'', ''knock'' (a clock) and ''knowe'' (knoll).
*In Buchan, towards the coast, th followed by ''er'' may be realised , rather than as in other dialects, for example: ''brither'' (brother), ''faither'' (father), ''gaither'' (gather) and ''mither'' (mother), often written ''bridder'', ''fadder'', ''gaider''~''gedder'' and ''midder'' in dialect writing.
* wh is realised , rather than as in Central Scots dialects, for example ''whit'' (what) and ''wha'' (who), often written ''fit'' and () in dialect writing.
*The cluster wr may be realised , rather than as in Central Scots dialects, for example ''wratch'' (wretch), ''wrath'', (wright) and (wrought~worked), often written , , and in dialect writing.

Some vowel realisations differ markedly from those of Central Scots dialects. The vowel numbers are from Aitken. See also Cardinal vowels.

* a (vowel 17) before , , and may be or rather than .
* aw and au (vowel 12), sometimes a or a representing L-vocalisation, are realised , rather than or as in Central Scots dialects, for example ''aw'' (all), ''cauld'' (cold), ''braw'' (brave, handsome, fine, splendid), ''faw'' (fall) and ''snaw'' (snow), often written ''aa'', (), , and in dialect writing. In Buchan, in some words the stem final ''w'' may be realised , often with a glide before the preceding vowel, for example ''awe'' (awe), ''blaw'' (blow), ''gnaw'' , ''law'' , ''snaw'' (snow) and ''taw'' ~ often written ''yaave'', ''blyaave'', , ''snyaave'' and ''tyauve''~''tyaave''~''chaave'' in dialect writing.
*In some areas ai or a (consonant) e (vowel 4 or 8) may be realised after , dark and occasionally after other consonants, for example ''claes'' (clothes), ''coal'', ''coat'', ''gape'', ''wade'', ''waik'' (weak), ''wait'', ''wale'' (choose) and ''wame'' (belly), often written ''clyes'', ''kwile'', , ''gype'', ''wyde'', ''wyke'', ''wyte'', ''wyle'' and ''wyme'' in dialect writing. A preceding or may produce a glide, with the vowel realised , for example ''caird'' (card), ''cake'' , ''naig'' (nag) and ''nakit'' (naked). The cluster ane is realised in Moray and Nairn but is usually in other areas, for example, ''ane'' (one) ''ance'' (once), ''bane'' (bone) and ''stane'' (stone), often written ''een'', ''eence'', ''been'' and ''steen'' in dialect writing.
*ea, ei (vowel 3) is usually , though the realisation may be along the coast and in Moray and Nairn. The realisation may also be in, for example, ''great'', ''quean'' (girl), (seven), (sweat), ''weave'' and ''wheat'', and before in, for example, ''speak'', often written ''gryte'', ''quine'', ''syven'', , ''wyve'', ''fyte'' and () in dialect writing. Before and the realisation may be in, for example, ''heiven'' (heaven), ''reason'', ''season'' and (seven), often written , , and in dialect writing.
*ee (vowels 2 and 11), e(Consonant)e (vowel 2). Occasionally ei and ie with ''ei'' generally before ''ch'' (), but also in a few other words, and ''ie'' generally occurring before ''l'' and ''v''. The realisation is generally but may be after , dark and occasionally after other consonants in, for example, ''cheenge'' (change), ''heeze'' (lift) and ''swee'' (sway), often written , and in dialect writing.
*eu (vowel 7 before and see ''ui''), sometimes ui and oo after Standard English also occur, is generally in for example, ''beuk'' (book), ''eneuch'' (enough), ''ceuk'' (cook), ''leuk'' (look) and ''teuk'' (took).
* Stem final ew (vowel 14) may be realised in, for example, ''few'', ''new'' and also in ''beauty and duty'', often written (), (), ''byowty'' and in dialect writing. Before the realisation may be in, for example, ''week'', often written ''wyke'' in dialect writing.
* ui (vowel 7) is realised and after and . Also u (consonant) e, especially before nasals, and oo from the spelling of Standard English cognates, in for example, ''abuin'' (above), ''cuit'' (ankle) and ''guid'' (good), often written ''abeen'', ''queet'' and ''gweed'' in dialect writing. In Moray and Nairn the realisation is usually before in, for example, ''buird'' (board), ''fluir'' (floor) and ''fuird'' (ford), often written ''boord'', ''floor'' and ''foord'' in dialect writing. The realisation also occurs in ''adae'' (ado), ''dae'' (do), ''shae'' (shoe) and ''tae'' (to~too).

Literature

North East Scots has an extensive body of literature, mostly poetry, ballads and songs. During the Middle Scots period writing from the North East of Scotland adhered to the literary conventions of the time; indications of particular "Doric" pronunciations were very rare. The 18th century literary revival also brought forth writers from the North East but, again, local dialect features were rare, the extant literary Scots conventions being preferred. In later times, a more deliberately regional literature began to emerge.

In contemporary prose writing, Doric occurs usually as quoted speech, although this is less and less often the case. As is usually the case with marginalised languages, local loyalties prevail in the written form, showing how the variety "deviates" from standard ("British") English as opposed to a general literary Scots "norm". This shows itself in the local media presentation of the language, e.g., Grampian Television & The Aberdeen Press and Journal. These local loyalties, waning knowledge of the older literary tradition and relative distance from the Central Lowlands ensure that the Doric scene has a degree of semi-autonomy.

Doric dialogue was used in a lot of so-called Kailyard literature, a genre that paints a sentimental, melodramatic picture of the old rural life, and is currently unfashionable. This negative association still plagues Doric literature to a degree, as well as Scottish literature in general.

Poets who wrote in the Doric dialect include John M. Caie of Banffshire (1879–1949), Helen B. Cruickshank of Angus (1886–1975), Alexander Fenton (1929–2012), Flora Garry (1900–2000), Sir Alexander Gray (1882–1968), Violet Jacob of Angus (1863–1946), Charles Murray (1864–1941) and J. C. Milne (1897–1962).

George MacDonald from Huntly used Doric in his novels. A friend of Mark Twain, he is commonly considered one of the fathers of the fantasy genre and an influence on C. S. Lewis and J. R. R. Tolkien.

Lewis Grassic Gibbon's ''Scots Quair'' trilogy is set in the