Bonnie Scotland: Painted by Sutton Palmer; Described by A.R. Hope Moncrieff — John Shaqi
Bonnie Scotland: Painted by Sutton Palmer; Described by A.R. Hope MoncrieffMoncrieff, A. R. Hope (Ascott Robert Hope)
History
Bonnie Scotland: Painted by Sutton Palmer; Described by A.R. Hope Moncrieff
Moncrieff, A. R. Hope (Ascott Robert Hope)
Scotland -- Description and travel
The next act shows the struggle of a partly Saxonised people against the
Anglo-Norman kings and their claims to feudal superiority. The curtain
rises on a sensational melodrama of confused alarms and excursions,
where the ill-drilled Celtic supernumeraries at the back of the stage
often fall to fighting like wild cats among themselves, while the
mail-clad barons prance now on one side and now on the other, as the
scenes shift about a border-line almost rubbed out by the crossing and
recrossing of
[Illustration: THE OUTFLOW OF LOCH KATRINE, PERTHSHIRE]
armies. The heroes of the most thrilling tableaux are Wallace and Bruce;
and the loudest applause hails the culminating blaze of lime-light on
Bannockburn.
The wars of Independence are not yet at an end, but the Scots people
have learned more or less firmly to stand together, and their chiefs,
when not led astray by feud and treachery, begin to enter into the
spirit of the piece, in which France now takes a leading part. But
Banquo’s ill-fortune dogs the line not yet fully consecrated by
misfortune. Over the stage passes that woeful procession of boy kings,
most of them cut off before they had learned to rule, each leaving his
son to be in turn kidnapped and tutored by fierce nobles to whom John
Knox might well have preached on the text “Woe to thee, O land, when thy
king is a child!” more profitably than he denounced that “monstrous
regiment of women.” This act culminates in the Reformation, when for a
generation Scotland is not clear whether to cry “Unhand me, villain!” to
France, or to England, the two powers that at her side play Codlin and
Short in a tragic mask.
When James VI. had posted off to his richer inheritance, we might expect
an idyllic transformation scene of peace out of pain. But the Scot has
no turn for peace. Is it the mists and east winds that set such a keen
edge on his temper? When not at loyal war, he is robbing and raiding his
neighbours, as if to keep his hand in; and if no strife be stirring at
home, he hires himself out as a professional fighter or football player
over foreign countries and counties, for pelf indeed, but also for the
zest of the game. And now that Scotland has no longer its wonted
national exercise of defending itself against England, it developed at
home that notable taste for spiritual combat; so the next act has for
its main interest a controversy as to what things were Cæsar’s,
throughout which the hard-headed and hot-hearted theologians of the
north made fitful efforts to be loyal to Cæsar, who, on his part, gave
them little cause for loyalty.
Public-domain text, read in full here on John Shaqi.
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