Clarsach

And I, beside the lake of swans, / Shall hunt for thee the fallow deer; / And build thy hut and bring thee home / The wild fowl, and the honey-comb; / And berries from the wood provide, / And play my clarshech by thy side.

[S]he sate down at a little distance upon the bench on which Allan M‘Aulay was placed, and tuning her clairshach, a small harp, about thirty inches in height, she accompanied it with her voice.

He is particularly delighted by her skill in music, which is so exquisite, that she far exceeds the best performers in this country in playing on the clashach or harp.

They [the country people] preferred the sprightly springs of the fiddle when intent on the dance; or if pouring forth the sweet melody of the song, their choice accompaniment was unquestionably the clarsach (harp).

After long thought, he took his clàrsach and went up through the ancient forest and out upon the desert of the great mountain which towers above all others in Emhain Abhlach. He played gently upon his clàrsach as he went, so that no wild thing molested him.

The craft of making clarsachs or harps continues despite the fact that of the three principal instruments played in Scotland over the centuries the clarsach is almost certainly the oldest.

[T]here are two examples of the earliest clarsachs in the National Museum of Antiquities of Scotland. The Caledonian or Lamont harp is believed to date back to 1464, and the Queen Mary harp dates back to about 1564. Mary Queen of Scots was an ardent clarsach player, as was King James I. The clarsach was popular in Scotland until the middle of the eighteenth century, when the destruction of the clan system had its concurrent effect on this instrument. It was not until the 1890s that the clarsach was heard from again.