nd should preserve the definite nationality which she had won for herself and had preserved for so long" (Mackie, 1978, p263).
             McCrone explores Scottish national identity culturally through the pessimistic notion of Tartanry and Kailyard. Tartan and Plaid is widely known as the Scottish national dress and has a long history, particularly in connection with the Highlands. The evidence for this is "The Proscription Act of 1747" which "forbade the wearing of tartan until 1782". This Act stated "That from and after the first day of August...one thousand seven hundred and forty seven no man or boy within that part of Great Britain called Scotland, other than shall be employed as Officers and Soldiers in his Majesty's Forces, shall on any pretext whatsoever, wear or put on the clothes commonly called Highland clothes (that is to say) the Plaid, Philabeg or little Kilt, Trowse, Shoulderbelts, or any part whatsoever of what peculiarly belongs to Highland garb." This not only confirms the cultural history of national dress but also allows us to understand the suppression and Anglicisation of it, as "the kilt and tartan were appropriated by the British army in its colonial wars...and it set about with gusto inventing new tartans." Furthermore, following the repeal of this act (1782), George the fourth wore a kilt when visiting Edinburgh in1822 causing "tartan to become an instant fashion, and members of polite society clamoured to have their own version." The Royal seal of approval was allocated to this 'tartan enterprise' by Queen Victoria in 1848, "she and Albert even had one of their very own designed." It is clear to see why McCrone portrays this as a pessimistic view as although Tartan and Plaid is the traditional national dress it has had a very complicated history of first being repressed then stolen for the military dress and then Anglicised and reinvented as a fashionable dress. However, even though the tartan we continuously see i...