▁S igh ing ▁thy ▁bold ▁variations . ▁Through ▁every ▁l ively ▁measure ; ▁The ▁war ▁note ▁intent ▁on ▁r ending , ▁White ▁fingers ▁de ft ▁are ▁p ounding , ▁To ▁hack ▁both ▁mar row ▁and ▁mus cles , ▁With ▁thy ▁shr ill ▁cry ▁res ounding ... ▁You ▁sh amed ▁the ▁har p , ▁Like ▁un t un ed ▁fiddle ' s ▁tone , ▁D ull ▁stra ins ▁for ▁ma ids , ▁And ▁men ▁grown ▁old ▁and ▁done : ▁Better ▁thy ▁shr ill ▁bl ast , ▁From ▁gam ut ▁brave ▁and ▁gay , ▁R ous ing ▁up ▁men ▁to ▁the ▁destruct ive ▁f ray ..." ▁ ▁B ard ic ▁vers es ▁tradition ally ▁celebrated ▁the ▁cl ars ach ▁har p ▁and ▁made ▁no ▁mention ▁of ▁bag pip es . ▁Hugh ▁Che ape ▁arg ues ▁that ▁the ▁bag pip es ▁gained ▁popular ity ▁and ▁prom in ence ▁through ▁the ▁need ▁for ▁a ▁mart ial ▁instrument ▁in ▁a ▁period ▁of ▁increasing ▁military ▁engag ements . ▁Bag pip es ▁were ▁gra ft ed ▁on ▁to ▁existing ▁structures ▁of ▁arist ocr atic ▁cultural ▁patron age ▁and ▁a est h etic ▁appreci ation ▁in ▁the ▁mid - 1 7 th ▁century ▁and ▁became ▁the ▁primary ▁ce ò l ▁m ór ▁instrument , ▁appropri ating ▁and ▁supp lant ing ▁the ▁high ▁cultural ▁and ▁musical ▁role ▁of ▁the ▁har p . ▁ ▁This ▁is ▁reflected ▁in ▁the ▁patron age ▁offered ▁to ▁a ▁succession ▁of ▁her edit ary ▁po ets , ▁har pers ▁and ▁subsequently ▁pip ers ▁who ▁were ▁retained ▁by ▁leading