Sir Walter Scott Centenary

Other names

  • Sir Walter Scott Centenary 1932 (in Waverly Market 21st to 24th September)

Pageant type

Jump to Summary

Performances

Place: Waverly Market, Princes Street (Edinburgh) (Edinburgh, City Of Edinburgh, Scotland)

Year: 1932

Indoors/outdoors: Indoors

Number of performances: 4

Notes

21–24 September 1932, 7pm

Music commenced at 6.30pm and the performance at 7pm each evening.1 The pageant ran for three hours.2

There was a full dress rehearsal on Tuesday 20 September, 6pm, to which Edinburgh schoolchildren were invited and could attend ‘at reduced prices’. 3000 children attended and the rehearsal was reported as a great success.3

Name of pageant master and other named staff

  • Musical arrangement: Mr Wiseman, Director of Music, Edinburgh Education Committee4
  • Staging and Costume supervision: Mr McIntosh, Superintendent of Art, Edinburgh Education Committee5
  • Stage Manager: Mr Oldham, James Clark School, Edinburgh
  • Assistant Stage Manager: Mr Burgoyne, Royal High School, Edinburgh
  • Dance Master: Mr Cowe, Superintendent of Physical Education, Edinburgh Education Dept.6

Names of executive committee or equivalent

Pageant Committee:

  • Convenor: Dr Mekie, Head Teacher of Darroch School, Edinburgh

Notes

The pageant was initiated by Edinburgh Corporation and organised by a specially convened committee made up of members of the Education Department of Edinburgh City Council and teachers from individual schools. Although there is no note in the programme of an overall producer for the pageant, this is likely to have been committee Convenor, Dr D.T.C. Mekie. His obituary indicates that as well as being a head teacher he also sat on the board of trustees for the city's Royal Infirmary and had considerable experience with organising that institution's annual pageants. Mekie died only eighteen months after the Scott pageant.8 Given that the pageant was held to raise money for the infirmary, it is a reasonable guess that Mekie may have been the originator of the idea to hold this event and involve schoolchildren.

Names of script-writer(s) and other credited author(s)

Names of composers

  • Wiseman, Herbert
  • MacCunn, Hamish
  • Elgar, Edward
  • Mozart, Wolfgang Amadeus
  • Mendelssohn, Felix
  • Sullivan, Arthur
  • Hale, Adam de la
  • Theobald I, King of Navara
  • Beethoven, Ludwig van
  • Berlioz, Hector
  • Brahms, Johannes
  • Grieg, Edvard
  • Wagner, Richard
  • Gluck, Chistoph Willibald
  • Delibes, Leo
  • Byrd, William
  • Bishop, Henry
  • Barratt, Edgar
  • German, Edward
  • Rossini, Gioachino
  • Weber, Anton Von
  • Verdi, Guiseppe
  • Boccherini, Luigi
  • Schumann, Robert

Numbers of performers

1500

Financial information

Object of any funds raised

Edinburgh Royal Infirmary

Notes

Source: ‘The Pageant and the Masque’, Edinburgh Evening News, 16 May 1932, 6.

Linked occasion

Centenary of the death of Sir Walter Scott

Audience information

  • Grandstand: Yes
  • Grandstand capacity: 4000
  • Total audience: 16000

Notes

Source: 'The Scott Pageant: Edinburgh Schools Success', Edinburgh Evening News, 3 October 1932, 6.

The arena held 4000. Although the Waverley Market was an open space, it appears likely that some form of tiered seating was erected. Performances were sold out and it was reported that thousands who wanted to attend were unable to get in.9

Prices of admission and seats: highest–lowest

20s.–1s.

Wednesday 21 September 1932:
Reserved seats: 20s., 12s. 6d.,10s. 6d., 7s. 6d.
Unreserved seats: 3s. 6d., 2s. 6d., 2s. 4d., 1s. 4d.
Gallery (standing): 1s.

Thursday 22, Friday 23 and Saturday 24 September 1932:
Reserved seats: 5s.
Unreserved seats: 3s. 6d., 2s. 6d., 2s. 4d., 1s. 4d.
Gallery (standing): 1s.10

The hugely inflated price of reserved seats on the opening night reflected the fact that royalty was in attendance. Several months beforehand, it was announced that Prince George was likely to attend and this was confirmed before the pageant tickets were advertised.11

Associated events

This centenary pageant was part of a year-long programme of events held in Edinburgh and throughout Scotland; In terms of Edinburgh City Council’s contribution to these, in addition to the pageant, it also organised a church service in St Giles Cathedral (21 September, the date of Scott’s death); following the service there was a grand procession from the cathedral, via Cockburn Street and Waverley Bridge to the Scott Monument in Princes Street Gardens. A wreath was laid there by Prince George and the procession then made its way back up the Mound to the City Chambers. A civic luncheon was held after this in Parliament Hall. The procession consisted of representatives of all the major institutions in the city (university, legal profession, banking etc.) as well as invited guests from elsewhere in Scotland.


Pageant outline

Episode I. Day Dreams, 1782

In this episode, performed by Flora Stevenson School, Scott is depicted as a child. In the scene, the 'Genius of Romance' visits him while 'the spirits of Poetry and Historic Inspiration hover near'. A verse is quoted in the pageant programme. Here is an extract:

Where Tweed's silv'ry stream is whispering
Legends from a by-gone age,
Sits a boy among the ruins,
Dreaming o'er the storied page.
...
Yet a wondrous spell is o'er him,
He, too, shall make minstrelsy,
Weave into his country's story,
Threads of gorgeous pageantry.13

It is assumed that this verse was recited during what was otherwise a tableau piece.

Episode II. Scott and Burns, 1786

In 1786, Burns, on his first visit to Edinburgh, was taken to a conversazione in the home of Adam Ferguson. Walter Scott, then only sixteen years of age, was present at this gathering. The background to an encounter between the two is explained in the pageant programme as follows: 'A print of Bunbury's attracted Burns' attention. It represented a soldier lying dead in the snow...' Some lines of verse were written beneath the image and 'Burns was visibly affected by the sadness of the theme, and asked for information regarding the authorship of the lines. The only one who could supply this was Walter Scott...'14 It is not known whether this scene was enacted entirely as tableau or contained dialogue. It was performed by the pupils of Craiglockhart School.

Episode III. Scott and Pet Marjorie

This tableau is described as follows in the pageant programme:

Fifty two years after her death, Dr John Brown gave to the world in his inimitable way the enigma of precocity that was Marjorie Fleming, the ‘bonnie wee croodlin' doo’ of that ‘stout blunt carle’ Sir Walter.15 We get here but a glimpse of her as she arrives for a Twelfth Night party at Scott's House, 39 Castle Street. ‘The bell rang and in came Duncan Roy and his henchman Tougald, with the sedan chair.’ All his guests had to be led forth that they might share his pleasure in her, and tenderly he carried her in and placed her beside him.16

Episode IV. Scott the Novelist, 1823

The description of this scene in the programme is opaque, but the action depicted something of Scott's life in 1823 when he was 52 years of age and had completed three of the Waverley novels. There is mention of Scott being in 'grim earnest' as he looked down from the window of his home in Castle Street 'out upon the bleaching green'.17 Boys from the Royal High School where Scott himself had once been a pupil performed the episode.

Episodes V–XXVI depict scenes from novels by Scott.

Episode V. The Banquet, Ivanhoe, 1194

The scene from the novel (first published 1819) and performed by pupils from Boroughmuir Secondary School, takes place 'in the banqueting hall of the ancient castle of Ashby de la Zouche’. Prince John has invited a host of guests 'in a final quest for popularity'. Depicted within the tableau are a troubadour who 'sings a Provencal ditty' and a 'troup of tumblers' [sic]. At the climax to the scene, 'To the chagrin of the Prince' the character of Cedric 'drinks the health of the "best and noblest of the race," Richard the Lion-hearted...' before departing from the banquet.18

Episode VI. The Attack on Richard, The Talisman, Late 12th Century

This is an action-packed tableau depicting a scene from the novel (first published in 1825 as the second in the Crusade series) wherein an attempted assassination of the life of King Richard is foiled by a Scottish knight disguised as a Nubian slave! The action takes place while Richard is on crusade. In addition to Richard and the knight, Sir Kenneth, other parts are those of soldiers from Richard's army and a 'ragged old marabout' who the soldiers force to dance 'for their amusement'. It is this character who proves to be the assassin; when the knight intervenes, 'the attack is then turned upon him'.19 It was performed by St Mary's School, Leith.

Episode VII. The False Herald, Quentin Durward, 15th Century

Depicted in this tableau, which was performed by Trinity Academy, are Louis XI and Charles, Duke of Burgundy; the scene takes place in the novel Quentin Durward (first published 1823). The two are rivals but reach a more friendly agreement in this scene. Other courtly figures attend and a jester and a gypsy dancer provide entertainment. During the scene, a trumpet announces the arrival of ' a pretend herald', Rouge Sanglier, who presents a scroll, the contents of which cause consternation. At the end of the scene, an Executioner leads off Sanglier, and 'the King and the Duke shake hands amid general cheering...'20

Episode VIII. Rosabelle, The Lay of the Last Minstrel (4 scenes), 16th Century

It is assumed that each of the four scenes from Scott's epic poem (first published 1805) was presented as tableau with a narrator reciting the parts of the verse to which the tableau related. In the first of these, the marriage of Margaret (daughter of the Duchess of Buccleuch) to Henry of Cranstoun is taking place. During this, a minstrel is called upon 'to beguile the company with a tale'. He begins to tell the story of 'Rosabelle'. The following two scenes then depict elements of this tale. In one, Rosabelle 'is descried looking over the Firth of Forth'; and. in the next. she is 'determined to get to Roslin'. The fourth scene returns to the wedding where the minstrel concludes the tale. The episode was performed by Bonnington Road School. 21

Episode IX. The Court of King James the Fourth, Marmion, c. 1513

In this scene from Marmion (first published 1808) a lively court is depicted. Music is played and dancing ensues with 'the King taking as his partner Lady Heron of Ford, a Border beauty...' Marmion, the emissary of the King of England, arrives and is greeted courteously. Following the dancing, Lady Heron takes up her harp and sings the tale of 'Lochinvar'. The King notes 'an interchange' between the Lady and Marmion and is enraged. Marmion chooses this 'inopportune moment to present his commission' whereupon 'James proudly refuses to treat with the King of England.'22 James Gillespie's High School for Girls performed in the episode and the dance undertaken was 'the Dashing White Sergeant'.23

Episode X. The Fiery Cross—Its Consecration and Dispatch, The Lady of the Lake, c. 1530s

In this scene from the epic poem (first published in 1810) the character of Roderick Dhu ‘is seen dispatching a signal [the fiery cross] in order to bring forth a gathering of his Clan’. It is assumed that parts of the verse were recited during the enactment which was undertaken by pupils from North Canongate School. This part of the poem contains the famous line 'Speed, Malise, Speed!'24

Episode XI. The Fiery Cross—Duncraggan's Huts, The Lady of the Lake

In a further scene from this poem, erformed by Preston Street School, the arrival of Malise (bearing the fiery cross) at the encampment at Duncraggan is depicted. 'The Coronach' is heard from within the camp because of the death of Duncan.25 Malise delivers his message; however, Angus, 'the stripling son of Duncan, girds on his father's sword belt...' and 'full of high courage' seizes the cross from Malise and 'dashes out to speed forward'.26

Episode XII. Fitz James and Roderick Dhu, The Lady of the Lake

This episode has two scenes. In the first, Roderick Dhu complains to Fitz James:

The stranger came with iron hand
And from our fathers reft the land.

Fitz James (who is King James V in disguise as an impoverished knight) replies that he is yearning to meet ‘this rebel chieftain and his band.’ Roderick then 'whistled shrill' and immediately 'full five hundred men appeared'.

In the second scene, combat takes place between the two main characters and Roderick 'is slain'. It was performed by young people from Darroch Continuation Classes.27

Episode XIII. Escape of Queen Mary from Loch Leven Castle, The Abbot, c. 1567

This episode was performed by Leith Academy Primary School. Taken from a key scene in the novel The Abbot (first published 1820), Queen Mary is here seen escaping by boat in the company of Roland Graeme, Lady Fleming and Henry Seyton who steers the boat. The Abbot, acting as a sentinel, stands guard at a wicket gate. As they are about to leave, Roland remembers the castle gate is unlocked 'and to the consternation of the others' he 'rushes back' returning just in time as a 'volley of shots' is fired.28

Episode XIV. Jock O' Hazeldean (Traditional Ballad)

The pageant programme informs us that this traditional ballad was collected by Scott and published in Albyn's Anthology in 1816. The description contains sections of the verse which is concerned with the secret love of a high-born lady for the lowly-born Jock. The lady is unwillingly betrothed to 'the Chief of Errington' but elopes with Jock. The episode was Performed by Bristo School.29

Episode XV. The Masque, Kenilworth, Late 16th Century

An Elizabethan masque is depicted in this scene,which was performed by boys from the Royal High School. Taken from the novel Kenilworth (first published 1821), the pageant programme provides the following description:

Rose petals are strewn in the path of the Queen who now appears accompanied by Leicester and Raleigh. The Queen assumes her seat, and her private courtiers take their places on either side. The opening bars of a Morris dance serve to bring on four groups of Masquers disguised as warriors...

The groups are dressed as Druids, Romans, Saxons and Normans and 'each has a train of torch-bearers.' The torch dance performed consists of 'rhythmic movements symbolising warfare'. While this goes on, the character of Merlin looks on and the torch bearers form 'a whirling circle'. The dance is described as 'furiously fast' and 'as the last note' sounds, all of the dancers drop on to one knee in front of Elizabeth. Merlin then selects one warrior from each group and 'makes a gesture to symbolise the unity thus envolved' [sic]. Afterwards, he produces 'from their midst a huge rose—the emblem of England.'30 The four warriors then each take a corner of the rose and present it to Elizabeth. At the end of the scene, Elizabeth leads her retinue towards Kenilworth Castle; warriors and torchbearers accompany this party in the rear and to either side.31

As a boys' school performed this episode, it is assumed all female characters were played by male pupils.

Episode XVI. The Battle of Loudon, Old Mortality, 1679

A Conventicle at Drumclog, as described in the novel published as the first of the Tales of My Landlord series in 1816, is depicted in this episode, which was performed by Darroch Intermediate School. The service taking place opens with Psalm 76 sung 'to the old Scottish tune of "Martyrs"'. Graham of Claverhouse and his troops descend on the worshippers. In the scene, 'Cornet Graham' is killed as he tries to disperse the gathering by peaceful means. A skirmish ensues and, in this, the Royalists are defeated. The scene ends with the singing of the 124th Psalm.32

Episode XVII. News of the Capture of Rob Roy, Rob Roy, c. 1715

It is unclear if this episode taken from the novel Rob Roy (first published 1817) contained dialogue. Young people from the Royal High School Continuation Classes performed it. The story takes place around the Jacobite rising of 1715 and in it Helen MacGregor, 'in command of a small party of Highlanders, women and boys, has just defeated a party of English soldiers led by Captain Thornton.' With the soldiers are Bailie Nicol Jarvie and the central character of Francis Osbaldistone. Previously these two had been captured by the English and in the scene, they and the Captain 'are dragged before MacGregor'. The Bailie, in fear for all their lives, then tries to convince MacGregor that he is her cousin.33 At this point, the mournful strains of a lament played on the bagpipes are heard and the two sons of Rob Roy 'advance slowly as if bearing bad tidings.' MacGregor is furious that a lament is being played at this moment of Jacobite victory, but it is announced that Rob Roy has been taken prisoner by Lowlanders. MacGregor then dispatches Osbaldistone to broker with the Lowlanders, instructing him to tell them that if Rob Roy is not released 'she would send them her prisoners each bundled in a plaid and chopped into as many pieces as there are checks in the tartan.'34

Episode XVIII. The Ball at Holyrood, Waverley, 1745

It is presumed that this episode contained a large number of players who were drawn from several schools including Portobello, St Thomas of Aquin's, Bellevue, Tynecastle, Darroch Continuation classes, London Street Continuation Classes, and Tynecastle Continuation Classes . In Scott's first novel (published 1814), the Ball depicted took place at the Palace of Holyrood on the eve of the Battle of Prestonpans in 1745. The scene is one of dancing, with the dancers including Bonnie Prince Charlie. Several famous dances were performed including 'The Eight Men of Moidart' and 'Ye're Welcome Charlie Stuart'. The episode ended with Burns' song 'Hey Johnnie Cope' being played on the bagpipes.35

Episode XIX. The Return from the Rescue, The Antiquary, 1794

Pupils from Victoria School enacted this scene from The Antiquary (first published 1816). It is described in the pageant programme as follows:

The tableau depicts the scene on the cliff top immediately after the rescue of Sir Arthur Wardour, his daughter Isabella, Edie Ochiltree and Mr Lovel from a shelf of rock on which the two latter had found a temporary refuge for Sir Arthur and his daughter, who had been cut off by the storm tide. Among the rescuers are the Antiquary (Jonathan Oldbuck), his niece, Mary Caxon and the old fisherman Saunders Mucklebackit, whose ingenuity had provided the means of escape.36

Episode XX. The Departure of the Gipsies [sic] from Derncleugh, Guy Mannering, Late 18th Century

This episode depicted an iconic and emotive scene from Scott's second novel, Guy Mannering (published 1815). In this, the gypsies are cleared from the lands of Ellangowan Estate by the Laird, and the colourful character of Meg Merrilees calls down a curse on him. The scene begins with gypsy children playing on a gate that opens onto the estate. The Laird appears and 'orders them away'. The children pay no heed and the Laird calls for assistance 'from his servant, who with a few lashes of the whip sends the offenders in hot haste to their settlement.' The episode then continues with the forced eviction of the gypsies from their camp. They are then seen on the road leading away from the estate where they meet the Laird who tries to engage them in conversation. At the end of the scene, 'the tall figure of Meg Merrilees appears suddenly'. She then 'gives utterance to a frenzied outburst' against the Laird. It was performed by James Clark Intermediate School.37

Episode XXI. Arrest of Dick Hatteraick, Guy Mannering

In this, the scene is again derived from Guy Mannering. It was performed by Lochend Road School. The character of Hatteraick is seen sitting in a cave, contemplating the murder of Henry Bertram. He is told by Glossin that Bertram is alone and crossing 'the heath' that evening, but the conversation is overheard by Meg Merrilees, Bertram and Bertram's 'protector', Dandie Dinmont. During the talk, Glossin admits to being afraid of Meg, and while Bertram and Dinmont remain concealed, Meg reveals herself and demands to know why he is afraid. She then throws some 'flax in the fire' to alert the others.38 Bertram and Dinmont rush in to Meg's aid, but Hatteraick, realising he has been betrayed, 'fires at Meg' who 'falls with a scream.' Hatteraick tries to break free but is 'met at the entrance by Captain Mannering' and is arrested.39

Episode XXII. The Arrest of Effie Deans, The Heart of Midlothian (2 Scenes), 1730s

This episode takes place over two scenes derived from one of Scott's most famous novels. It was performed by Yardheads School. The episode is the first of five taken from The Heart of Midlothian (first published 1818 as the second of the series Tales of My Landlord). In the first scene, the character of Effie Deans is seen 'seated on a stool, deep in thought.' Other central characters from the novel are seated at a supper table; a gaoler enters suddenly and reads out a warrant. This calls for the arrest of Effie and she is taken away. In scene two, Effie's father, David Deans, is seen with his head bowed, while Effie's sister, Jeanie, is weeping. The Laird of Dumbiedykes is attempting to comfort David while 'behind the table Reuben Butler stands with arms outstretched over all three, asking for God's blessing.'40

Episode XXIIIa. The Prison Scene, The Heart of Midlothian

This tableau scene contains only three characters, Jeanie, Effie and Ratcliffe the Tolbooth jailor. The women are depicted in their cell where Jeanie tries to comfort Effie while the 'sympathetic figure of Ratcliffe lurks in the background'. It was performed by St Anthony's Intermediate School.41

Episode XXIIIb. The Trial Scene, The Heart of Midlothian

In the pageant programme, this episode is described on an inserted half-page, suggesting that it was a late addition. It depicts the scene in court where Effie Deans is being accused of child murder. The programme describes the scene as containing 'all the panoply of judicial dignity that accompanies a trial in the High Court of Judiciary... Add to these the busy office-bearers and idle loiterers and all the rude multitude who had rushed in to view the human drama...' It was performed by young people from Boroughmuir Continuation Classes.42

Episode XXIV. Jeanie and the Laird of Dumbiedykes, The Heart of Midlothian

In this further episode from The Heart of Midlothian, Jeanie Deans intends to travel to London to plead with the Queen for her sister's life. She seeks the help of the Laird to do so and meets with disapproval from the Laird's housekeeper, Mrs Balchristie. It was performed by Prestonfield School.

Episode XXV. The Interview with the Queen, The Heart of Midlothian

The episode, performed by David Kilpatrick School, is set in the Royal Park at Richmond. Queen Caroline walks with Lady Suffolk and is approached by Jeanie Deans and the Duke of Argyle who has befriended her. The Duke introduces Jeanie, and Queen Caroline promises help with her plea. At their parting, the Queen presents Jeanie with a 'housewife case to remind her that she has had an interview with Queen Caroline.'43

Episode XXVI. The Porteous Riots, The Heart of Midlothian, 1736

This episode, performed by Broughton Secondary School, depicts a famous event in Scottish history that was included in Scott's novel. There are two scenes. The first is set outside the Tolbooth Prison in Edinburgh; the character of Reuben Butler tries to gain admittance to the prison but is turned away by the turnkey and leaves. At this, some of the rioters appear; they disarm the guard in place and form a barrier across the street. More rioters appear in the second scene and Butler is with them. The rioters, having tried to enter by the door and been repulsed, then raise the cry: 'try it with fire!'44 The door is burned down and Porteous is dragged out dressed only in a nightgown.

Episode XXVII. Homage to Sir Walter Scott

The entire cast reassembles on the pageant stage for this finale. ‘Oh Caledonia Stern and Wild’ (from The Lay of the Last Minstrel) is sung. Into the assembly, the figure of Sir Walter enters, accompanied by his pet hound, Maida. The programme describes the lights fading over 'the personages who have been brought into being by his imagination' leaving visible the lone figure of Sir Walter, 'the man, whom Scotland delights to honour as one of her greatest sons.'45

Key historical figures mentioned

  • Scott, Sir Walter (1771–1832) poet and novelist
  • Burns, Robert (1759–1796) poet
  • Ferguson, Sir Adam (1771–1855) friend of Sir Walter Scott
  • Richard I [called Richard Coeur de Lion, Richard the Lionheart] (1157–1199) king of England, duke of Normandy and of Aquitaine, and count of Anjou
  • John (1167–1216) king of England, and lord of Ireland, duke of Normandy and of Aquitaine, and count of Anjou
  • Louis XI (1423-1483) king of France
  • James IV (1473–1513) king of Scots
  • James V (1512–1542) king of Scots
  • Mary [Mary of Guise] (1515–1560) queen of Scots, consort of James V, and regent of Scotland
  • Elizabeth I (1533–1603) queen of England and Ireland
  • Ralegh, Sir Walter (1554–1618) courtier, explorer, and author
  • Sidney, Sir Philip (1554–1586) author and courtier
  • Charles Edward [Charles Edward Stuart; styled Charles III; known as the Young Pretender, Bonnie Prince Charlie] (1720–1788) Jacobite claimant to the English, Scottish, and Irish thrones
  • Graham, John, first viscount of Dundee [known as Bonnie Dundee] (1648?–1689) Jacobite army officer [ Lord Grahame of Claverhouse]
  • Caroline [Princess Caroline of Brunswick-Wolfenbüttel] (1768–1821) queen of the United Kingdom of Great Britain and Ireland, consort

Musical production

The music was live and ‘a specially selected theatre orchestra’ provided this throughout. The Edinburgh City Police Pipe Band and the band of Dr Bell’s School in Leith also supplied some of the music. Most of the musicians were members of the Scottish Philharmonic Orchestra. The Conductor of the orchestra was Mr Herbert Wiseman, MA, Director of Music, Edinburgh Education Committee.

Before the performance of the pageant each evening at 6.30 pm, the brass band of 'Dr Bell's School, Leith (Conductor Mr E. Wakefield) played 'selections of Scottish music.' On 21 and 23 September 1932, 6.45pm, the Edinburgh Police Pipers and Drummers (led by Pipe-Major Hance Gates) played 'Marches, Strathspeys and Reels'; on 22 and 24 September the same was played by the Pipers and Drummers of the Edinburgh Corporation Transport Department (led by Pipe-Major W. Cruickshank). The overture ‘Land of Mountain and Flood’ was played at 6.55 pm

All music collected, arranged and in some places (not specified) originally composed by Herbert Wiseman:
  • Hamish MacCunn. 'The Land of the Mountain and the Flood' (Overture).
  • Elgar. 'Dream Children' (Episode I).
  • Mozart. ‘Idomeneo' (Episode I).
  • Traditional Tune. 'Gala Water' (Episode II).
  • Mendelssohn. Nocturne from a 'Midsummer Night's Dream' (Episode IV).
  • Sullivan. Music from the Opera 'Ivanhoe' (Episode V).
  • Adam de la Hale. 'J'ai encor un tel pate', 1285 (Episode V).
  • Count Thibaut of Champagne. 'Lautrier par la matinee', 1201–53 (Episode V).
  • Beethoven. 'Turkish March from the Ruins of Athens' (Episode VI).
  • Berlioz. 'March Hongroise' (Episode VII).
  • Brahms. 'Hungarian Dance' (Episode VII).
  • Grieg. 'Bridal Procession' (Episode VIII).
  • Wagner. Overture from 'The Flying Dutchman' (Episode VIII). 
  • Gluck. 'Ballet of the Departed Spirits in Orpheus' (Episode VIII).
  • Delibes. 'Passepied' from 'Le Roi s'amuse' (Episode IX).
  • Gluck. Stately March from 'Alceste' (Episode IX).
  • Byrd. 'Pavane—The Earl of Salisbury’ (Episode IX).
  • 'Galliard—The Dashing White Sergeant’ (Episode IX).
  • ‘Blue Bonnets over the Border' (Episode IX).
  • Bishop. 'Hail to the Chief' (Episode X).
  • Edgar Barratt. 'Coronach' (Episode XI). 
  • Hamish MacCunn. Music from 'The Dowie Dens of Yarrow' (Episode XII).
  • Mendelssohn. Overture 'Fingal's Cave' (Episode XIII).
  • Traditional Music (Episode XIV).
  • Edward German. Three Dances from 'King Henry VIII' (Episode XV).
  • Singing of Psalms 76 'Martyrs' Tune' and 124 'Old 124th Tune' (Episode XVI).
  • Bagpipe Music. 'A Pibroch' (Episode XVII).
  • Traditional Music. ‘Come o'er the Stream Charlie’; ‘The Eight Men of Moidart’; ‘Ye're Welcome Charlie Stewart’; ‘Goodnight and Joy be wi' ye a'; ‘Hey Johnnie Cope’ (Episode XVIII).
  • Rossini. Storm Music from Overture to 'William Tell' (Episode XIX).
  • 'Mackay's Farwell to Sutherland' (Episode XX).
  • Weber. Overture to 'Der Freischutz' (Episode XXI).
  • 'My ain Fireside' and 'Logan Water' (Episode XXII).
  • Verdi. 'Miserere' from 'Il Trovatore' (Episode XXIII).
  • Traditional. 'The Laird o' Cockpen' (Episode XXIV).
  • Boccherini. 'Minuet for Strings' (Episode XXV).
  • Schumann. 'Night-Music' (Episode XXVI).
  • 'Bannocks o' Bearmeal'. (Episode XXVI).
  • March. 'O Caledonia Stern and Wild' (Episode XXVII).
  • Hamish MacCunn. Final chorus from 'Lay of the Last Minstrel' (Episode XXVII).

Newspaper coverage of pageant

The Scotsman
Edinburgh Evening News
Glasgow Herald
Yorkshire Post
Dundee Courier

Book of words

n/a

Other primary published materials

  • Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme (Edinburgh, 1932).

References in secondary literature

n/a

Archival holdings connected to pageant

  • Image of centre pages contained in the pageant programme. Reproduced with the kind permission of the Scotiana.com team. See website accessed 12/10/2015 at: http://www.scotiana.com/discover-sir-walter-scotts-memorabilia-collection-inside-abbotsford/
  • Scott's home at Abbotsford is now held in trust as a museum of the writer's life and work. A copy of the programme is held there.
  • The National Library of Scotland has a copy of the pageant programme. Shelfmark: HP1.80.1781.

Sources used in preparation of pageant

  • Brown, John. A Story of a Child Life Fifty Years Ago. London and Edinburgh, 1864 (Episode III).
  • The poems and novels of Sir Walter Scott.

Summary

There were so many events taking place in commemoration of the 100th anniversary of the death of Sir Walter Scott that it is not surprising that most passed without much fanfare. However, this particular event attracted a lot of attention in the months before it took place. The fact that it was children and young adults who were the performers seems to have fascinated, and the attendance of royalty and members of the Scottish aristocracy added to the high level of public interest. The pageant was an initiative of Edinburgh Corporation and was organised by staff of the council's education department. Responsibility for individual episodes was then devolved to thirty of the city's schools with each taking charge of one or, in a few cases, two episodes. It appears likely that the majority of Edinburgh's council-run intermediate and high schools had an episode to perform; and a few local-authority-funded selective schools, such as the Royal High School and James Gillespie's Girls' School, played a part. In these times, when most Scottish children were compelled to leave school at the age of 14, many young people from the so-called 'continuation classes' were also performers in the pageant. Clearly, there was an effort to be inclusive and give as many Edinburgh schoolchildren an opportunity to perform as possible. Notably, however, the private schools in Edinburgh did not have a role. Given the large number of children involved, the level of organisation required must have been phenomenal, and probably for this reason the episodes were mostly uncomplicated tableaux with little or no dialogue and probably quite short. Many of the events planned for this centenary year had an educative focus, as it had been widely recognised that Scott's popularity had declined during the twentieth century. The decision to give this pageant over to schools was therefore most likely part of the wider remit of the centenary, which aimed to reinstate Scott as a popular novelist, particularly for the younger generation.

The first four episodes illustrated elements from Scott's life, although, notably, purported fact was weaved with fiction in the episode concerning 'Pet Marjorie', as Scott's encounter with this child writer is almost certainly a mid-Victorian invention. The remaining episodes are all derived from poems and novels. The novel that proved most popular with Edinburgh schools was undoubtedly The Heart of Midlothian, the narrative of which well illustrates the sentimental strain that ran through most of this pageant. Set mostly in Edinburgh in the 1730s, this novel gathers the attention of no fewer than five episodes. Unlike the other episodes in the pageant, the Heart of Midlothian pieces were not placed within the programme in chronological order according to when the action of the novel or poem was set, but instead performed towards the end of the pageant as its dramatic denouement. The last of the five enacts the infamous Porteous Riot in 1736 when the captain of the City Guard was lynched by an Edinburgh mob. This scene thus returned the drama of the pageant to a local setting. It was followed by the pageant finale, which was presented in classic pageant style with all of the performers returning to the stage to pay homage to their creator, Scott, the 'Wizard of the North'.

Given that there was little spoken dialogue throughout the pageant, it is likely that there was some sort of voiceover to illuminate the tableaux, although no details have been recovered for this.52 Press reports intimated that the staging was generous and impressive and that many episodes contained up to 200 players.53 Therefore, although the scenes enacted were generally snapshots of key moments from Scott's novels, there was no shortage of spectacle. The pageant programme supplied some background to these narratives as well as details of the music played, which seems to have been carefully selected to increase the dramatic impact of each scene. Although some popular and traditional tunes were played in new arrangements, lavish orchestral music from the classical canon was clearly an important element of the pageant, and, since most of the musicians were from a celebrated Scottish ensemble, this is likely to have contributed to a large part of the success of the performance, which was sold out throughout its run. The Waverley Market, where the pageant took place, was an indoor fruit and vegetable market which was also often used as an exhibition space; it was given this name as it was sited immediately next to Waverley Rail Station (named after, of course, the title of Scott's famous series of novels). These key locations are also a stone's throw from the hard-to-miss gothic pillar of the Scott Monument in Princes Street Gardens; so the pageant took place in a landscape that was, and remains, a lasting shrine to the influence of the author in his home city.

The pageant programme is now quite a rare document although it seems likely that many thousands of copies were printed; but, as a cheaply produced booklet, it is not surprising that these items have not withstood the rigours of time. Printed on flimsy paper and containing short narrative sections on the episodes as well as a brief synopsis of Scott's life, it carries no advertisements or cast lists; nonetheless, it does contain some attractive colour illustrations and commissioned photographs of scenes with the young performers dressed in costume, all reflecting its popular appeal. This tone of the pageant was in contrast to the avant-garde, modernist Masque of the Scottish People, which similarly celebrated Scott in pageant style and was held earlier in the year in Edinburgh. The contrast may have been deliberate, as the Masque was evidently not to everyone's taste.54 Yet although popular, the pageant did not stint on production values; indeed, the Scotsman stated that 'no spectacle of similar character has been attempted in Edinburgh since the magnificent pageant produced by Sir Frank Benson and staged in the grounds of Craigmillar Castle.'55

Although one of many centenary events, the children's pageant was probably the most successful of these, certainly in terms of the many celebrations held in the Scottish capital but perhaps also within the wider context of Scotland. The hazards of the Scottish weather were avoided by taking the drama indoors, prominent visitors—such as Prince George who attended on the opening night and Princess Helena (granddaughter of Queen Victoria) who came for the final performance—lent prestige, the press were enthusiastic, and it was successful in raising money for a worthy cause. The schoolchildren were described as exhibiting 'wonderful spirit' and acted their scenes with 'precision and skill'. 56 The stalwart Edinburgh teachers who managed to make this pageant into such a success evidently did so without expectation of recompense. In a letter to the city's daily evening newspaper which was on the subject of teachers' salaries, one local dominie commented that during the Scott pageant 'hundreds of weary teachers' could be seen 'night after night, from 5pm to 11pm, sick to death of it, yet doing it after a hard day's work, without a grumble.'57 Since between 1400 and 1500 children took part, they certainly deserved the accolades that were given but, as may be imagined, they were probably glad when it was all over!

Footnotes

  1. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 7.
  2. ^ 'Scott Pageant: Waverly Novels Re-enacted', The Scotsman, 31 August, 7.
  3. ^ ‘In Homage of Scott: Edinburgh Children’s Pageant’, Edinburgh Evening News, 26 May 1932, 11.
  4. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 24.
  5. ^ ‘Scott’s Centenary: The Edinburgh Pageant’, Edinburgh Evening News, 26 April 1932, 7.
  6. ^ ‘Scott Episodes: The School Pageant’, Edinburgh Evening News, 21 September 1932, 11.
  7. ^ ‘Scott Episodes: The School Pageant’, Edinburgh Evening News, 21 September 1932, 11.
  8. ^ 'Noted Citizen Dead', Edinburgh Evening News, 23 February 1934, 7.
  9. ^ ‘Proposal for an Exhibition Hall’, Edinburgh Evening News, 19 October 1932, 17.
  10. ^ See numerous advertisements for the pageant, for example The Scotsman, 16 September 1932, 1.
  11. ^ See, for example, ‘Edinburgh Children’s Pageant: Prince George to Attend’, The Scotsman, 29 June 1932, 10.
  12. ^ ‘Edinburgh Commemoration: Order of Procession’, The Scotsman, 9 September 1932, 9; ‘Homage to Scott: Edinburgh Commemoration Ceremonies’, Edinburgh Evening News, 21 September 1932, 7.
  13. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, 8.
  14. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 9.
  15. ^ 'Pet Marjorie' was the name given to the child diarist Marjorie Fleming (1803-1811), whose journals were edited and embellished posthumously, by, among others, John Brown, who published these in 1863. They were extremely popular throughout the Victorian age. The story recounted in the episode and the entire relationship between Scott and Marjorie is almost certainly fictitious and was invented by Brown. See Elizabeth Ewen, entry for Marjorie Fleming, The Biographical Dictionary of Scottish Women, ed. Elizabeth Ewen et al. (Edinburgh, 2006), 121.
  16. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 10.
  17. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 10.
  18. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 11.
  19. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 11.
  20. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 12.
  21. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 13.
  22. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 14.
  23. ^ 'Edinburgh Schools' Pageant: Features of Production', The Scotsman, 30 July 1932, 9.
  24. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 15.
  25. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 15.
  26. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 16.
  27. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 16.
  28. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 16.
  29. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 17.
  30. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 18.
  31. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 19.
  32. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 19.
  33. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 19.
  34. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 20.
  35. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 20.
  36. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 20.
  37. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 21.
  38. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 21.
  39. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 22.
  40. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 22.
  41. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 22.
  42. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) inserted page between 22 and 23.
  43. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 23.
  44. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 24.
  45. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 24.
  46. ^ ‘Homage to Scott’, Edinburgh Evening News, 3 September 1932, 5.
  47. ^ ‘In Homage of Scott’, Edinburgh Evening News,26 May 1932, 11,
  48. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 7.
  49. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 7.
  50. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 7.
  51. ^ Sir Walter Scott Centenary Edinburgh 1932 (in Waverly Market 21st to 24th September) Souvenir Programme, (Edinburgh, 1932) 8-23.
  52. ^ This is mentioned in some news articles but without specific details. See, for example, 'Edinburgh Children's Pageant: September Attraction'. The Scotsman, 29 March 1932, 5.
  53. ^ See 'Edinburgh Children's Pageant: Prince George to Attend', The Scotsman, 29 June 1932, 10.
  54. ^ See, 'Edinburgh Women Citizens and the Scott Masque’, Edinburgh Evening News, 27 October 1932, 9. The committee for this women's association were unhappy about the organisation of the Masque but also felt that both this and the children's pageant had too many scenes which had a negative impact on the level of spectacle provided in the performances.
  55. ^ 'Scott Pageant: Waverley Novels Re-enacted', The Scotsman, 31 August 1932, 7.
  56. ^ 'Edinburgh Pageant: Princess Attends', The Scotsman, 26 September 1932, 13.
  57. ^ Letter from 'Guardian of 56', Edinburgh Evening News, 27 November 1932, 7.

How to cite this entry

Angela Bartie, Linda Fleming, Mark Freeman, Tom Hulme, Alex Hutton, Paul Readman, ‘Sir Walter Scott Centenary’, The Redress of the Past, http://www.historicalpageants.ac.uk/pageants/1230/