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 dancing comes through a luxurious experience of Highland high-life,
when this band of youths fall in with an old schoolfellow, a Scottish
nobleman who bears what seems the exotic title of Lord Camember, but his
family name is that well-known aristocratic one of Orton. He welcomes
them to his castle, where his coming of age is being celebrated by
crowds strangely enormous for such a “desert country,” who are
entertained under tents “vast as cathedrals,” with splendid hospitality
open to all comers, fountains flowing with beer, speeches, music,
dancing, and fireworks. As _bouquet_ of the festivities, he invites the
strangers to a review of his stags, driven together “in full trot” till
their gigantic antlers “gave the illusion of the marching forest in the
Macbeth legend.” The drive past lasts more than an hour, in the course
of which are enumerated 5947 horns, so that, allowing for absentees, the
young lord estimates a round number of seven thousand as the stock of
his deer forest. There could have been no such head of game in the
district when Fitz-James galloped all the way from the Earn to Loch
Katrine after one stag, losing it as well as his way. One can’t help
feeling that our author’s excursion through the scenes of his story must
have been an equally rapid one.
The Trossachs pass leads us to that lake that gets a fair-seeming name
not from any saint, but from the Highland _Caterans_ who once infested
its banks; and it is hinted that “Ellen’s Isle” may have come to be
christened through Scott’s mistaking the Gaelic word _Eilean_ (island).
There was, indeed, a certain Helen Stuart who played a grimly fierce
part in defending this place of refuge, as related in the poem, but her
exploit was performed against Cromwell’s soldiers. In sight of the
“Silver Strand,” tourists are wont to take steamboat as far as
Stronachlachar, and there cross by coach to the “bonny, bonny banks of
Loch Lomond.” They whose “free course” moves not by “such fixed cause,”
might well hold on to the head of Loch Katrine, crossing to Loch Lomond
over the wild heights of Glengyle; or they would not find it amiss to
turn back to Aberfoyle, thence past Loch Ard and the Falls of Ledard,
following the track round Ben Lomond on which Rob Roy led Osbaldistone
and the Bailie out of his country. But one knows not how to direct
strangers to that wild region vaguely outlined by the above-mentioned
French author, where our generation may shoot grouse and bulls as they
go, and find quarters in any convenient hut or castle, when the
Trossachs hotel happens to have “not a bed for love or money.” His
story, one fears, must be counted with the mediæval wonders of Loch
Lomond, fish without fins, waves without wind, and such a floating
island as still emerges after hot summers in Derwentwater.
Public-domain text, read in full here on John Shaqi.
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