The Scottish People: A Masque of Sir Walter Scott's Characters
Other names
- Sir Walter Scott Centenary Celebrations, 1932
Pageant type
Performances
Place: Large Concert Hall, The Usher Hall (Edinburgh) (Edinburgh, City Of Edinburgh, Scotland)
Year: 1932
Indoors/outdoors: Indoors
Number of performances: 5
Notes
21–25 June 1932, 7.30 pm.
Name of pageant master and other named staff
- Director of Productions [Pageant Master]: Robertson, R. Douglas
- Leader of Orchestra: W. Watt Jupp
- Wardrobe Mistress: Mrs Tosh
- Lighting: Robert Steele
- Regisseur: J. Wallace Bell
Names of executive committee or equivalent
Scott Centenary Masque Committee:
- Chairman: Lady M. Whitson
- From Outlook Tower Committee: Mrs Craigie Cunningham; Miss Nannie Brown; Miss I.F. Grant; Mr F.C. Mears
- From Scottish Community Drama: Mrs A. Chas. Rowland; Miss S.R. Aitken; Dr C. Bernard Childs; George Humphrey; Bruce Morgan; Douglas Robertson
- Hon. Secretary: Miss Alice Maconochie
- Director of Productions: R. Douglas Robertson
- Leader of Orchestra: W. Watt Jupp
- Wardrobe Mistress: Mrs Tosh
- Lighting: Robert Steele
- Regisseur: J. Wallace Bell
- Heraldic Designs: Thomas Innes and Miss M.R. Caird
- Artistic Letterpress: Gerald C.A. Stevens
- Costume Construction: Mrs M.C. Bell
Notes
The centenary celebrations were the idea of the Walter Scott Club in Edinburgh which set up the Scott Centenary Committee in 1928, with named officials as follows:
This body later devolved responsibility for organising the pageant to a further committee, the Centenary Masque Committee; this was mostly made up of members of the Edinburgh Outlook Tower Committee and the Scottish Community Drama Association. 3 Additional members of the Masque Committee included the pageant director and a number of other staff involved with the performance. Also acknowledged in the pageant programme as helping with the event are: 'the Rover Scouts Association' and the 'Union of Scots Loyalists'.4
The committee was chaired by a woman and the gender apportion is 8 women to 9 men.
Names of script-writer(s) and other credited author(s)
- Grant, Isobel F.
Notes
Isobel Frances Grant wrote the script.5
Names of composers
- Stephen, David
Numbers of performers
200The majority of performers were adults from amateur dramatic societies, but some scenes featured a small number of children. Only the main players' names were listed and almost every episode has a crowd scene, and therefore the number of performers is an estimate - probably on the low side.
Financial information
Sum raised: £1014. 8s. 5d.
Expenses: £569. 5s. 3d.
Balance: £445. 2s. 9d.6
The financial information relates to three centenary events:
- An exhibition (from July to September)
- A ceremony at Dryburgh Abbey where Scott was buried (23 September 1932)
- The Masque
Object of any funds raised
Lectureship in Scottish Literature at the University of Edinburgh.
Notes
The sum aimed at for this combination of events was £5000 of which £3000 was to be given over to fund the lectureship at Edinburgh University; the remaining £2000 was to cover expenses incurred in organising the events. Although it is clear that nowhere near £2000 was spent on the trio of centenary events, there was still a considerable shortfall. It is not clear which of the three incurred the most substantial deficit. All of the £445 profit made was given to the university.7
The profits for this event formed part of an appeal made by the Lord Provost of Edinburgh as follows:
The profits of the Masque of the People of Scotland as depicted in the Work of Sir Walter Scott will be devoted to the founding of a lectureship of Scots Literature at the University of Edinburgh. This purpose was announced at an early stage of the preparations for commemorating the centenary of the death of Scott, and has aroused considerable interest among those who care for Scots Literature [sic]; in spite of the financial pressure of the times, therefore, the Centenary Committee has thought it right to adhere to their original intention.This was signed by the 'Lord Provost'.8
It is evident that Scots Literature, [sic] so fine, so individual and so essentially of the race, cannot receive the attention it is entitled to in a Scots University in the already fully crowded curriculum of the English course. To supply a Lectureship specially devoted to the subject would not only do much to make our national heritage available to the rising generation, but would surely be the Memorial most fitting to one who was not only a writer of world-wide fame, but was essentially and distinctly a Scotsman.
Although the stringency of the times may prevent the whole sum which is required from being collected, it is our earnest wish that at any rate a nucleus of such a foundation may be gathered.
Linked occasion
Centenary of the death of Sir Walter Scott.Audience information
- Grandstand: Not Known
- Grandstand capacity: n/a
- Total audience: n/a
Notes
Total audience unknown.
No note of a rehearsal.
The pageant took place at an indoor concert venue; the Usher Hall had seating capacity of c2500.
Prices of admission and seats: highest–lowest
5s.–1s.
5s., 3s. 6d., 2s., and 1s.
Associated events
This pageant was part of a programme of centenary events including:- A centenary service in St Giles Cathedral (21 September 1932, the anniversary of the day Scott died) was organised by Edinburgh City Council.
- A centenary Service at Dryburgh Abbey (23 September).
- An Exhibition of Scott memorabilia in the National Gallery of Scotland, Edinburgh (1 July–30 September 1932).
Pageant outline
Prologue. ‘The Spirit of the Masque’, no date
The Spirit of the Masque (played by Sheila Logan) is described as engaged in entreating ‘those busy with ‘little things’—‘The Man (and Woman) in the Street.’ Eleven female characters and six male 'escorts' are listed as appearing alongside the Spirit.11 These are the 'voices in the air'. These ethereal voices talk about several issues until the Spirit raises the subject of Scott; then they express ‘opinions... which roundly declare that Scott is dull and out-of-date’.12 The Spirit, on the other hand, emphasises 'the qualities and the interests of Scott’s genius for the people of today'.’13 The voices then seem won over and state in unison that 'Scott helped the world to see Romance.'14 The author of the book of words describes the voices as:
[s]everal persons, men and women, wearing draperies of neutral colours... the ‘voices’ must use a limited amount of characterisation, but the speakers should not assume personalities. The voices should come from an un-individualized group, as if out of the air.15
Off stage, at the start of the scene, there are sounds of 'waves, wind and birds.' This is followed by more workaday sounds including motor horns, bells, a telephone, hammering and 'ragtime played on a gramophone to suggest wireless'.16
Song Pictures. ‘Soldier Awake’, ‘The Fiery Cross’ and ‘A Border Foray’
While background discussion between the voices and the Spirit fades, three 'song pictures' commence. These are presented as tableaux vivants, 'as vividly and fantastically as possible'.17 They are stated in the pageant programme as showing 'the Romantic side of his Works'. They are presented in this order in quick succession. The first tableau (presented by the Edinburgh Women's Citizens Association) enacts a poem that was included in Scott's Tales of the Crusades (1825); in this enactment, a knight lies sleeping. Three ladies and their attendants, including a jester, a 'harper' [sic] and other 'picturesque characters', are grouped together looking at the sleeping figure and each holding a piece of his armour. The book of words suggests that 'Soldier Awake' is recited either on or off stage.18 In the second 'song picture' (presented by the Rover Scouts), a Highlander carries a fiery cross and looks exhausted; he passes on the cross to another Highlander. Again, it is stated that the verse is recited either by 'a figure muffled up in a tartan plaid or by the Spirit of the Masque'.19 The verse concerned is from the long poem The Lady of the Lake (1810). The scene ends with a 'hoarse shout' of the phrase 'Roderigh Vich Alpine Dhu, Ho! ieroe!' twice repeated.20 For the third tableau, a 'wild group of Border warriors' is seen marching and this is accompanied by male voices singing ‘March, March, Ettrick and Teviotdale’.21 The song begins quietly and grows louder. The curtain comes down and is raised between each of the tableaux. In the light of these examples of Scott’s poetic works, by the end of the scene, ‘Scott’s power of making human contacts and his sympathy with folk of all classes is stressed.’22
Interlude 1. 'Makin' himsel' a' the time'
In the pageant programme, this interlude is given a title which is a quotation from John Gibson Lockhart’s Memoirs of the Life of Sir Walter Scott (1838) and refers to a remark made by an acquaintance of Scott about the significance of the poet's travels when he was working as a legal apprentice. Scott travelled throughout Scotland during this time and material he collected would later appear in works he produced, for example, the Minstrelsy of the Scottish Border (1802-03). This interlude, as with all the interludes in the pageant, again contains conversation between the Spirit of the Pageant and the 'voices in the air'. This particular interlude begins with the Spirit addressing the audience directly and describing Scott as 'the dead Wizard of the North'. The Spirit further states:
You who are the people of Scotland, do you want to know the block from which you are hewn? No living man has drawn you such a portrait of yourselves as has Walter Scott.
The voices then make remarks which give details of Scott's life history and experience such as that 'his first literary efforts were in verse' and 'his profession of advocate brought him into contact with many people'.24 The interlude ends with the voices entreating the Spirit to show them more of the character of Scott.
Key Episode. Scott at Abbotsford, 1817
This contained the following characters and performers:
Sir Walter Scott: Fred T. MacleodLady Northampton: Patricia Noble
Sophia Scott: Alison Alexander
William Erskine: R. Brown
Washington Irving: R.K. Swan
William Laidlaw: Thomas Robb
Mrs Laidlaw: Margaret Alexander
A Young Soldier: Robert Christie
A blue stocking: Flora Paterson
1st Lion Hunter: Jean Perry
2nd Lion Hunter: Vena Bertram
Old Lady: Wendy Raithby.
In this scene, Scott is seen entertaining a group of friends and admirers, including Lady Northampton, on the lawn at Abbotsford. Turning to Washington Irving, he says, 'I want you to meet some of our really excellent plain Scotch folk.' In the pageant book of words, this remark is said to be the 'keynote of the Masque and should be delivered with special emphasis.' Scott goes on to say that the 'character of the nation is not to be learnt from its fine folks.'25 The episode was presented by: The Edinburgh Philosophical Institution Dramatic Society and the director was Victor Findlay.'26
Interlude 2
During this, a short conversation between the Spirit and the voices takes place. The Spirit states that:
The Scots nobility were an integral part of the people of Scotland. They were powerful, but nowhere else in Europe did so large a proportion of everyday folk claim kinship with the dominant class... In Scotland there could never have been class wars.27
The description for the interlude in the programme states: '[t]he centuries roll back to a period distracted by the feuds of a turbulent Nobility.'28 This refers to the reign of Robert III (1390–1406). The Spirit speaks of the Scottish martial character in the past and maintains that Scots were ever ready to come to the aid of their leader. She compares the Scottish people favourably with other European peasantry by saying:
the Scots country folk, though desperately poor and in constant danger, were mannerly and proud and free...[they were] ready to take part in his quarrel, be it just or unjust, with any powerful Lord, if only they have a liking for him...29
The interlude ends with the Spirit's summary of the historical background to the novel The Fair Maid of Perth (first published 1828). This is a complicated scenario but the Spirit succinctly describes the feuding that went on among the royal family and between clans as follows:
King Robert's brother, the Duke of Albany, and the King's son, the Duke of Rothesay, are at enmity... [Rothesay] had been betrothed to the daughter of the Earl of March, but Albany had persuaded the King to force his son to marry instead the daughter of the Earl of Douglas. Douglas and March hate each other... everywhere is lawlessness and unrest. Tragedy is imminent.30
Episode I. ‘Alarums and Excursions’ (from The Fair Maid of Perth), Late 14th Century
This episode contains drama enacting a scene from Scott's Novel, The Fair Maid of Perth. The director was R. Douglas Robertson. It is set in 'the outer court' of Robert III at the priory in Perth. The following performers take part:
The Old Brandane: James ThomsonThe Captain: William Steele
The Recruit: Jas. H. Aitken
A Scrivener: William Jas. Murray
Earl of March: A. Knox Rutherford
Duke of Rothesay: Chas. F. Watson
Earl of Douglas
(Archibald the Grim): George Robb
Duke of Albany: H. Sutherland
King Robert III: William H. Campbell
A Burgess: Victor Owen
A Monk: W. Dann)
A Prior: John Stewart
A Gow Chrom: George Lumsden
The Gleewoman: Christine Spence31
The scene opens outside the private chambers of the King, where a group of the 'Brandanes', troops of the Duke of Rothesay, are talking and gossiping. It is announced that the Earl of March is about to arrive; when he does, he is admitted to the King's chamber. More Brandanes arrive and conversation continues. Then the 'gleewoman' (Louise, a travelling minstrel from Provence) appears, accompanied by several grooms and yeomen. She is asked to sing by the assembled company and while about to do so, the Duke of Rothesay arrives. His usher prepares to have the gleewoman removed but the Duke signals that she may stay and 'lounges near the entrance listening'.32 The gleewoman then becomes aware of the Duke's presence. The Duke addresses her:
'Tis a plaintive ditty, my nut-brown maid; but I warrant me you have livelier notes at will, ma belle; aye and canst sing in bower as well as wold, and by night as well as day.33
The gleewoman wears a 'scrip' around her neck and Rothesay enquires what is in this; she answers that it contains nuts. Rothesay states, 'You shall have something to afford you better fare, poor wandering ape. My purse!' While Rothesay continues to flirt with the gleewoman, his father-in-law the Earl of Douglas, arrives; he looks upon Rothesay's dissolute behaviour with disapproval. Rothesay says to the singer, 'I give thee one gold piece for the song thou hast sung me, another for the nuts I have stolen from thee and a third for the kiss thou art about to give me...'34 The gleewoman appears frightened but voices in the company say she cannot refuse. Douglas intervenes and an argument between him and Rothesay ensues. A Prior tries to calm them when swords are drawn. Douglas demands that the gleewoman is punished but Rothesay defends her. Albany leads Douglas away and tries to calm the situation. March then entreats Rothesay to seek an annulment of his marriage to Douglas's daughter, but Rothesay is instead preoccupied with the fate of the gleewoman. Rothesay then asks his smith to take the gleewoman to a place of safety. The scene ends with the King and his entourage processing from the apartments and being beseeched with cries from the burgesses and 'suppliants' for 'Justice'. The King addresses them all: 'Good people!... Content ye.' He then looks anxiously at both Rothesay and Albany and asks: 'What is to be done to heal the woes of Scotland?' At which, 'Albany and Rothesay begin to speak at once, trying to drown each other's voices.'35
Interlude 3
A discussion again ensues between the Spirit and the Voices; they talk about how in 1572 there was civil war, yet people kept up traditions and 'had their merry mummings with Robin Hood and little John.'36 The following is stated in inverted commas in the programme: 'yet the people of Scotland found an antidote to their sorrows in the folk music and dancing of their time.'37
Episode II. ‘The Fair’ (from The Abbott), 1572.
The following characters are listed in the programme as taking part in this episode which depicts part of the narrative from the novel, The Abbot (first published 1820):
Luke Lundin(Chamberlain to the Lord of the Manor): J. Oswald Dyke
The Saucy Wench: Anne Melville
Drem old Lady : Salise Weir
The Minstrel: William Aitken
A Fiddler: William Virtue
The Piper: David Stocks
Columbine: Laurie Rowland
Harlequin: Jean Stewart
Pantaloon: Alfred Sim
The Doctor: Rawley Potts
In addition on stage, there were 'Merry makers. Sellers of Wares, Dancers, etc., etc.'38
When the scene opens 'most of the rustics' are dancing and a fiddler stands to the right of the stage.39 He finishes playing and hands round a hat but many of the crowd listening do not pay. A minstrel then begins singing ‘Jock o' Hazeldean’. The minstrel collects some money but the crowd's attention has turned to the arrival of the Chamberlain who they hope will declare open 'the play'. The saucy wench flirts with the Chamberlain and he asks her to join him to watch the play. The play is a mime involving the characters of Columbine, Pantaloon, Harlequin and a 'Doctor'; the Doctor begins to recite a verse about a potion which tests the faithfulness of a wife: an unfaithful woman will sneeze when a phial containing the potion is placed under her nose. Pantaloon then takes the phial from the Doctor and forces Columbine to sniff; she sneezes and runs away. Harlequin appears heartbroken. The assembled crowd laugh loudly and push forward an old woman from the audience. The Doctor places the phial under her nose and she sneezes loudly. The old woman curses the audience who again laugh loudly. The Doctor then makes to place the phial under the nose of the Saucy Wench, she sneezes violently and in annoyance boxes the Doctor's ears knocking him down. The Chamberlain orders the Halberdiers to bring the wench before him again and he threatens her with the ducking stool for her behaviour. She manages to charm her way out of this situation and runs into the crowd. The crowd encourage a Halberdier to sniff the phial and he sneezes; there is much laughter and the crowd then decide to make the Doctor try it, at which point, he runs away much to the amusement of the onlookers. The episode was presented by members of the 'Merchant Maiden, Caridacia and B.I. Dramatic Societies'; it was directed by Mrs Charles Rowland.40
Interlude 4. ‘Flodden Field’
The Voices ask to see a fight and the Spirit obliges by introducing a series of tableaux.41 These are described as 'depicting (a) The March. (b) The Last Stand. (c) Wounded Fugitives' at the Battle of Flodden. Accompanying the mimes there was verse recited by Christian Macnab.42 The curtain falls between each tableau piece.
Interlude 4.1
Continuing from the previous interlude, the Spirit of the Masque 'explains Scott's direct associations with descendants of those who lived in Covenanting Times.'43 The Spirit describes these as times 'when kindly Scot persecuted kindly Scot'.44
Episode III. ‘The Test’ (from Old Mortality), 1679
The date stated for this episode is 1679 during the period of the Scottish Covenanting movement. The Tale of Old Mortality was first published 1816. The episode was presented by the Edinburgh Outlook Tower Association's drama section and directed by Miss Nannie Brown with assistance from Mr F. Hillard. The scene contains the following characters and performers:
Sergeant Bothwell: Frank HillardMr Morton (of Milnewood): Dan McArthur
Henry Morton (his nephew): A. Know Rutherford
Cuddie Headrigg: A.K. Hogg
Mause Headrigg: Nannie Brown
Mrs Alison Wilson: Norah Moinet
Maid Servant: Rhoda Spence
Old Robin: W.G. Crosbee
Barnsman: Duguld Macmillan
First Trooper: E. Paton
Second Trooper: H. Scott.45
The drama throughout this episode is played for comic effect. It opens in the kitchen of Milnewood. The table is set to accommodate the household with a carved chair at one end of a long table and two 'lesser chairs' either side. At the other end of the table are stools and benches. The social distinction implied is marked by the position of the saltcellar on the table. The servants arrive for dinner beginning with Mause and her son Cuddie who grumbles about the food provided. From their conversation, it is made clear that they are new to the household having left their previous positions because of religious differences with their employers. Cuddie is anxious that they will be left in peace in this new employment, but it is evident that his mother is a religious zealot and covenanter, and will not be silenced.
The Laird, Mr Morton, his nephew Henry, and Mrs Wilson the Housekeeper seat themselves at the upper end of the table; Morton complains about the amount of food consumed, making it evident that he is a curmudgeon and miserly. The servants fall eagerly upon their food. Then there is a loud knock at the door. Everyone becomes anxious at this. A servant answers and Sergeant Bothwell and the troopers enter. Morton reluctantly offers them refreshments. Sergeant Bothwell forces all assembled to raise a glass to the King as a test of their loyalty; during this, Cuddie, who is worried that his mother will refuse and will begin to assert her Presbyterianism, claims that she is deaf and dumb and that he will drink the toast on her behalf. Cuddie then consumes several glasses of brandy. Following this comedy, the Sergeant announces that the Archbishop of St Andrews has been murdered. He enquires of Morton what he thinks of this act; Morton obliges by saying he deplores it, but his nephew Henry refuses to comment on the subject. Bothwell then states that he has seen Henry before and that he was then in the company of one of the men suspected of the murder. Henry admits that he gave shelter to this man but that his uncle knew nothing of him being on Milnewood property. Bothwell threatens to arrest him, and the Housekeeper implores Morton to offer a bribe of twenty pounds in the hope that they will overlook Henry's offence. Morton reluctantly leaves to fetch the money. At this, Mause begins to curse the soldiers:
Malignant adherents ye are to the prelates, foul props to a feeble and filthy cause...Philistines ye are and Edomites...46
At this the Sergeant expresses surprise and states that, although he will leave the fate of Mause to the 'Constable and the ducking stool', he must arrest Henry for he cannot leave him in a house where there is 'so much treason and fanaticism'.47 Meantime, the Housekeeper continues to try to persuade Morton to hand over money to the soldiers and Mause continues to harangue the soldiers with her zealous beliefs much to Cuddie's disquiet. It is clear the Sergeant is toying with them all. Morton with a show of reluctance is eventually persuaded to hand over all of the twenty pounds, but Henry is arrested anyway. The episode ends with Mause declaring that even if her son was 'fund [sic] worthy to bear testimony in the Grassmarket' (the area in Edinburgh where adherents to the Covenant were hanged) she would not be silenced by any means:
And if the bloody Doegs and the flattering Ziphites were to seek to ensnare me wi' a proffer of his remission upon sinful compliances, I wad persevere natheless, in lifting my testimony against popery, prelacy, antinomianism, erastianism, lapsarianism, sublapsarianism, and the snares o' the times. I wad uplift my voice as a powerful preacher.48
Interlude 5
The description in the programme for this particular interlude states: ' As the caterans gather to the sound of the pipes, Bailie Nicol Jarvie takes the audience into his confidence in the matter of the state of the Highlands in his time.'49 The interlude begins with the Spirit talking with two 'voices in the air', a 'Highland voice' and a 'cultured voice'. Meanwhile the tune, ‘Macgregors' Gathering’ [sic] plays 'softly in the background' slowly swelling into full song as Macgregors enter the stage: some scout, others grasp their weapons'.50 The Macgregors and the Spirit then leave the stage and Bailie Nicol Jarvie enters. This character from Rob Roy (first published 1818) discusses the economic woes of the Highlands with the two voices and concedes, despite his generally hard-headed views, that something about the Highlands 'warms the very heart's blude o' me'.51
Episode IV. ‘A Highland Feast’ (from Waverly), 1745
Members of the Union of Scots Loyalists were involved with the organisation of this episode and the director was James Wallace Bell. In addition to 'members of the clan', there are five named characters in the scene which comes from the novel Waverley (first published 1814) as follows:
Fergus Macivor (the young Chieftain): G. K. MansonCaptain Edward Waverly (a young English traveller): T. J. Moffat
MacMurrough (the Bard): R. A. Buchanan
Pipers: Calum Johnston & Ian Mackintosh.52
The episode takes place in the Hall of Macivor's castle; many members of the clan are in the assembled company. When the curtain rises, the pipers are playing but they stop at Macivor's command. The chief addresses Waverly saying:
I fear that as a stranger and an Englishman, you must be surprised to find so many and so large and so miscellaneous a gathering, but in my situation as chief, unlimited hospitality to the members of my clan is expected of me. These stout idle kinsmen of mine account my estate as held in trust for their support; and I must find them beef and ale while the rogues will do nothing for themselves but practise the broadsword, or wander about the hills, shooting, fishing, hunting, drinking and making love to the lasses of the strath.53
A round of toasts takes place. The Chief invites the bard to recite and the assembled clansmen join in the refrain:
Hail to the chief who in triumph advances!
Honour'd and bless'd be the evergreen pine!
Long may the tree, in his banner that glances,
Flourish, the shelter and grace of our line!
The refrain:
Heaven send it happy dew,
Earth lend it sap anew,
Gayly to burgeon and broadly to grow,
While every Highland glen
Sends our shout back agen
Fergus Vich Ian Vohr, ho! ieroe!54
There are further verses and another round of toasts to the 'immortal memory of Gaeldom.'55 An old man makes a toast; all drink in expressive silence after the toast which is as follows: 'here's to the little gentleman in black velvet, and may the white horse break his neck over a mound of his making.'56 The toasting continues and ends with the sound of one verse of the Flowers of the Forrest being played in the distance.
The Spirit re-enters; she states: 'And so it ended, the old life of the Highlands.'57 The voices also lament this. A stave of the ‘Pibroch o' Donald Dhu’ is heard from behind the curtain at the close of the episode. In the book of words, the Spirit then pronounces on the changing times during Scott's day and introduces the background to the next episode; in the programme, however, this introduction has become a further interlude.
Interlude 6
This is described in the programme as 'The Passing of the Old Feudal Spirit' but there are no further details.58 It is assumed that the end of Episode IV as described in the book of words was transferred to this separate interlude; in this, having spoken about changing times, the Spirit then goes on to describe details of a scene adapted from the novel Guy Mannering (first published 1815). Here, the Laird of Ellangowan has recently been appointed Justice of the Peace and decides to take his duties as a landowner more seriously; thus he opts to clear a colony of gypsies from his land in order to make way for forestry.
Episode V. ‘The Flitting’ (from Guy Mannering), 18th Century
This episode is set in the eighteenth century; Gypsy folk take part (men, women and children) and there are only three named characters who are Mr Bertram, the Laird of Ellangowan (played by Wm. H. Campbell), Bertram's servant called Jock (played by John Stewart) and Meg Merrilees (played by Florence Salmond).59 The scene takes place out of doors; the laird is walking with Jock and discussing plans for the estate. Their conversation then turns to the eviction of the gypsies from the land, and the laird complains about their behaviour in order to justify his actions. Jock states, however, that: 'I suppose when folks beyond living memory ha'e called a wee bit corner o' ground their hame, it seems to them theirsen in a kindly way that the glisk o' a mere charter or legal title can never give.'60 The gypsies then appear in the road carrying all their worldly goods. The laird tries to engage them in friendly conversation but they will have none of it. At the end of the procession of displaced people Meg Merrilees appears; she is carrying a sapling branch from one of the new trees the laird has planted on the estate and declaims in 'a high prophetic strain':
Ride your ways ride your ways, Godfrey Bertram. This day have you quenched seven smoking hearths—see if the fire in your ain parlour burn the blyther for that...61
At the end of her speech which describes the plight of the evicted families, Meg breaks the sapling in two and flings the sticks in front of the laird before making her exit. The laird fumbles for a coin but finds that Meg has already left when he retrieves this. Jock looks on, horror struck as he realises the laird has been cursed. The episode was directed by Miss Netta B. Ford.62
Interlude 7
In this, the voices and the Spirit again engage in conversation; the spirit begins this by stating:
Scott's eyes were turned to the colourful past, but the stresses and emotions that great crises whip up to a dramatic intensity may come to us all... There are experiences, we all, every one of us, must go through.63
Meg Merrilees then enters the stage. She sits on a low stool and 'twists with a spindle three threads, white, black and gray, that have been would on a distaff.'64 This is described in the programme as 'Meg Merrilees spins a Weird.'65 Meg recites a verse about the inevitability of human mortality, which introduces the theme of the subsequent episode:
Twist ye, twist ye! even so
Mingle shades of joy and woe,
Hope and fear, and peace and strife,
In the thread of human life.
Meg continues to recite while a bell tolls; her final lines are: 'Open locks, end strife, / Come death, pass life.'66
Episode VI. ‘The Fisher Funeral’ (from The Antiquary), Second Half of the 18th Century
Described as taking place in the 'second half of the 18th century', this episode depicts a scene from The Antiquary (first published 1816). The episode was presented by the Findhorn Players and directed by Miss Etta Young. It features 'fisher folk' and eleven named characters as follows:
Mucklebackit (played by William Stempel)Mrs Mucklebackit (Grace Wright)
Old Grandmother (Nettie Milne)
Jonathan Oldbuck, Larid of Monkbarns (Harry Smith)
The Minister (Archd. Drysdale)
A Carpenter (James Douglas)
Two Children (Sybil Haggart and Ella Mitchell)
Beadles (Horace Brooks and Horace Brown)
Old Woman (Johan McArthur)67
The scene opens onto the interior of a fisherman's cottage; a coffin is set on a bed, and behind this is a table laden with food. The Mucklebait family stand and sit around but the scene is played in silence. The book of words suggest that mournful music might be played such as: 'The land o' the Leal', 'Farewell, Farewell to Fiunary' or 'Lykewake Dirge'.68 The programme does not indicate if these or any music was played. The old woman tries to encourage Mr Mucklebait to eat. He refuses angrily, after which his wife then tells one of the children to try. Mucklbait relents and speaks to the child describing how the son who has died was his special ally. The laird enters; the grandmother is temporarily forgetful about the reason for his visit and raises a toast to him. The family are aghast at this, and then the old woman recalls the death and is overcome with grief. The Minister then enters and offers words of consolation to Mrs Mucklebait; in response, she admits that she must accept this sad event but that she finds it difficult. The rest of the company express their sorrow; Oldbuck signs to the Minister that it is time for the burial. A carpenter approaches the coffin and tightens the screws on the lid. The company wait for Mucklebait to take his place at the head of the coffin but he makes no move. The laird offers to stand in his place. The cortege begins to move. When Mucklebait rouses himself from his grief and sees the coffin gone, he throws himself on the bed. Mrs Mucklebait exclaims '[w[hat a day this is!69
Interlude 8
In this interlude, the Spirit of the Masque briefly 'introduces the character of Dairsie Latimer from Scott's novel Redgauntlet (first published 1824), a scene from which is dramatised in the subsequent episode. The Spirit stands in front of the curtain and states:
I have asked you to travel with me a sad road. Now you shall see how that elegant young gentleman, Dairsie Latimer, for a freakish splore, went to play for the fisherman's dance at Broken Burn.70
The curtain remains down but some of the featured characters from the novel enter as the Spirit leaves the stage.
Episode VII. ‘The Country Dance’ (from Redgauntlet), Late 18th Century
This episode was directed by Miss Winstanley Brown. Set around 1765, the episode dramatises a scene from Redguantlet and includes four of its characters. Alongside Dairsie Latimer (played by William Miller) there is Wanderin' Willie (A. Bruce Morgan) who is a blind fiddle player, his wife Maggie (Alice Croan) and the fisherwoman Dame Martin (Sheila Stewart). The scene contains 'folk dances' and a 'piper' takes part. Dances are performed by a local scout troop and seven young women ('Misses Aitken, Buyers, Croan, McNair, Pottinger, Reid, Sparks').71 Others with non-speaking parts are 'Fisherfolk' and 'Smugglers'. With the curtain still down Willie and his wife sing a drinking song. Dairsie also arrives and complements them on their singing. It transpires that Willie's usual partner in fiddle playing, Robin, has let him down at the last minute; Dairsie induces Willie to allow him to play instead at the fisher wedding. Willie is at first reluctant as it is obvious that Dairsie is gentry and he will be viewed with suspicion. Dairsie offers payment and Maggie persuades Willie to accept.
The curtain rises and the remainder of the scene consists of lively music and dancing; this includes Dairsie taking to the floor with Dame Martin, the fisherwoman. There is no note of the tunes played in pageant literature.
Finale
In this, the Spirit proclaims that Scott wrote 'from a glad heart that gladly shared its wealth with the world...' but at the age of sixty-one, Scott had 'worked himself to death'. The curtain then rises and the scene is at it was in the Key Episode. The moment when Scott addresses Washington Irving is reprised and all of the characters of the Masque, 'the really excellent plain scotch people' re-assemble.72 They are described in the programme as the ‘creatures’ of Scott's 'imagination, the associates of his day and the Spirits of the air'; they all recite some patriotic verse taken from The Lay of the Last Minstrel (first published 1805):
O Caledonia! Stern and wild,
Meet nurse for a poetic child!
Land of brown heath and shaggy wood,
Land of the Mountain and the flood.
Land of my Sires! What mortal hand
Can e'er untie the filial band
That knits me to thy rugged strand!73
There is a note in the programme stating that it 'is hoped that the audience will join the players in repeating these words.'74
Key historical figures mentioned
- Scott, Sir Walter (1771–1832) poet and novelist
- Laidlaw, William (bap. 1779, d. 1845) friend of Sir Walter Scott and James Hogg
- Robert III (d. 1406) king of Scots
- Stewart, David, duke of Rothesay (1378–1402) prince
- Stewart, Robert, first duke of Albany (c.1340–1420) prince and governor of Scotland
- Douglas, Archibald, fourth earl of Douglas, and duke of Touraine in the French nobility (c.1369–1424) magnate and soldier
- William III and II (1650–1702) king of England, Scotland, and Ireland, and prince of Orange [prince of Orange]
Musical production
- A harp is played during the 'song pictures' section of the pageant.
- In Episode I, A 'Chorus of Monks ' was 'provided by Pilrig Church Choir. Conductor: George Beveridge.'
- The following traditional songs, which were collected and/or had lyrics penned by Scott:
- ‘March, March Ettrick and Teviotdale’ (‘Blue Bonnets over the Border’) (Song Pictures).
- ‘Jock O' Hazeldean’ (Episode III).
- The following poems/songs, with lyrics authored by Scott:
- ‘Macgregors' Gathering’ (1816); ‘The Pitbroch o' Donald Dhu’ (1816); ‘Hail to the Chief’ (all Episode IV).
- Other songs and hymns:
- ‘Oh God of Bethel, by Whose Hand’ (Key Episode).
- ‘The Flowers o' the Forrest’, lyrics by Alison Cockburn (Episode IV).
- ’The land o' the Leal’; ’Farewell, Farewell to Fiunary’; 'Lykewake Dirge' (Episode VI).
Newspaper coverage of pageant
ScotsmanEdinburgh Evening News
Glasgow Herald
Book of words
- A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant. Edinburgh, 1932.
Price: 2s. 6d.
1 copy in National Library of Scotland. Shelfmark: T.37.a.
Other primary published materials
- Sir Walter Scott Centenary Celebrations. The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th Edinburgh, 1932
Souvenir programme. NLS. Shelfmark: 5.5012.
References in secondary literature
n/a
Archival holdings connected to pageant
- It also holds two copies of the pageant programme. Shelfmarks: 5.5012 and 5.335.
- The National Library of Scotland holds one copy of the Book of Word. Shelfmark: T.37.a.
Sources used in preparation of pageant
- Lockhart, John Gibson. Memoirs of the Life of Sir Walter Scott: Paris, 1838 and subsequent editions.
A quotation from Lockhart is the title of the Interlude that precedes the Key Episode; an account of Abbotsford in these memoirs is likely the basis for the drama in the Key Episode.
Summary
Across Scotland in 1932, all major cities and many towns, particularly those in the Borders, held some form of occasion to commemorate the one hundredth anniversary of the death of Walter Scott. However, as the capital city and the place of Scott's birth, Edinburgh, had a particularly close historical association with him and it clearly wished to outdo all others with its centenary events. In March 1931, the committee set up in Edinburgh to organise commemoration within the city appealed for the sum of £5000 to fund its ideas. Just over a year later only £600 had been raised from public subscription and the secretary of the committee made another appeal through the letters page of the Scotsman newspaper.79 The Masque was planned for June 1932 and was one of a trio of events organised by this volunteer committee. These included church services in Edinburgh's St Giles Cathedral and at Dryburgh Abbey in the Borders where Scott was buried, and an exhibition at the Scottish National Gallery—making the entire Edinburgh-based centenary programme into a celebration that stretched over several months. In addition, the committee desired to leave a published legacy in the shape of a commemorative volume of Scott's work and, most importantly, a scholarly legacy by establishing a Chair of Scottish Literature at Edinburgh University. The latter was to be funded from profits made at ticketed events of which the Masque was the opening salvo. In addition, a further event, organised by Edinburgh City Council, had been added by this time to the city's commemoration, namely a children's pageant which was to be held in September 1932.
To ensure the success of the Masque, a pageant management committee was formed; this included members of the Outlook Tower Committee, supporters of Patrick Geddes's vision for education and social change. The pageant that they conceived was to be performed in the magnificent surroundings of the Usher Hall, indicating that a large audience was expected. Many dramatisations of Scott's works were being held in Scotland that year, but, for the Edinburgh enthusiasts, it is a measure of how much Scott was trusted as an interpreter of the Scottish past that the pageant format was chosen as the vehicle for this particular piece of theatre. This was perhaps Scott's due, as he was the undoubted inventor of historical fiction. Moreover, across the nineteenth century, his works had done much to popularise key aspects of Scottish history at home and abroad. This event was called a 'masque' nonetheless, maybe to distinguish it from more run-of-the-mill historical pageants, and perhaps in deference to Geddes who had used this terminology himself for dramatic pieces, although it conformed to most other aspects of historical pageantry, for example having an episodic structure. Each of the episodes covered an example of Scott's fiction and these were presented in chronological order according to the historical era in which the story was set rather than to the order of publication of the original novels.
Scott's life had its difficulties and it does seem as if both the pageant author and the committee preferred to avoid the writer's more controversial experiences, such as his bankruptcy, instead simply allowing his works to speak for him. A so-called 'key episode', however, performed as the opening scene of the pageant, allowed Scott a voice and established his credentials as a chronicler of the history of 'ordinary folk'. Within the ideological framework of this pageant there can be no doubt that those involved believed in Scott's unique ability to reflect the identity of the Scottish people through his writing. As the title of the pageant makes clear, the writer's facility for depicting different elements in Scottish society was believed to be his lasting legacy as a writer. Although there is no firm evidence to support a less honourable motive for this interest in national identity on the part of the pageant’s organisers, it should be remembered that harbingers of increased sectarianism and xenophobia were around in Scotland, even in douce Edinburgh where the Protestant Action Society attracted votes in local council elections during the 1930s. At a national level, a fairly right-wing stance by the Scottish Presbyterian churches on the issue of the dilution of Scottish identity by Irish Catholics was also in the air.80 The Scotsman commented that the pageant would show Scots ‘in a past that was more racily [sic] characteristic, but portraying characters that are fundamentally true to type so long as the race will last.’81 Aside from such extremist views, it is fair to say that national identity was a question of the day, and one that was being investigated within the arts; it is perhaps for this reason that the Scott centenary seemed to provide a convenient vehicle for exploring this issue.
There was another powerful reason as well. Scott's literary output was voluminous, and his work continued to be read and admired during most of the nineteenth century; however, by the advent of the twentieth century he had entered into the realm of the literary classic, and, by the inter-war years, there is no doubt that his status as a bestselling author was long gone. Although many popular Scottish writers of the day, such as John Buchan, undoubtedly owed a debt to Scott's literary influence and Scott's work continued to be adapted into other modern mediums, his works became ever more neglected. Certainly, for the generation then growing up with radio and cinema, novels by Scott had become the stuff of school prizes rather than must-reads from the local library, and, despite the high drama the novels often depicted, these were books more viewed as improving literature rather than ripping yarns. Within this context, it is very clear that this Masque aimed to educate and inspire a contemporary audience to pay more attention to Scott's work and appreciate his interpretations of the Scottish historical landscape. However sincerely believed, this was probably always a doubtful ambition: more likely, the pageant played to the already converted, and certainly many who attended came from across the British Isles to see it.82
The writer of the pageant was well known among the London and Edinburgh intelligentsia, having had a long career as a scholar and writer. Grant's particular interest was in the history of Highland society and she had published widely on this subject. However, the masque was something of a departure for her. She took a very novel approach to the drama, which appears to weld elements of classic historical pageantry with a modern approach to stagecraft. The dramatic device of the 'voices in the air' who are meant to speak for the ordinary person and who engage in dialogue with the 'Spirit' of the pageant exemplifies her technique. Moreover, in advance of the trend which would later develop in Scotland for employing amateur dramatic societies to perform in pageants, the masque used such performers, with the sophistication of Grant's script and the size of the Usher Hall perhaps demanding some experience from the performers. It is clear, as well, that some of the technical demands of this pageant in terms of sound and lighting probably required professionals. A review in the Scotsman commented that:
This embodiment of characters and episodes from Scott is not only a pageant, nor a series of acted episodes. The whole is linked up by a chorus arranged with an effect of unity, one episode merging on another... while music and effects ‘off’ ‘play their part in creating atmosphere and generally giving the suggestion of a vivid and ordered dream...83
Grant had almost too much material to choose from in selecting from Scott’s work; this is evident in the book of words she produced where there are ‘alternative episodes listed’ at the end of the text, including scenes from The Heart of Midlothian (first published 1818). Those selected and which went on to be performed were meant to show the evolution of Scottish culture from a clan-based society through to the agricultural change of the eighteenth century and the beginnings of industrialisation. The persistence of Scottish tradition, however, is notably addressed in the final episode which depicts a scene from Redgauntlet; although the underlying theme of this novel is not the enduring romance of the Jacobite cause but its inevitable end in the face of the rationalism of Unionism.
For the pageant organisers the further agenda at stake also had to do with education. In addition to preserving Scott's status as a writer, they aimed to create a scholarly legacy through using the profits of the celebrations to fund a Chair of Scottish Literature. This was possibly a contentious thing to do for a pageant that aimed to reintroduce readers to Scott as a popular novelist. One reader of the Scotsman argued against this move and wrote to the paper saying, ‘[d]aily we hear that the young folks of to-day will not read Scott... much I fear that the more we lecture them on Scott the less will their divine and heaven-prompted perversity be brought to know “what is for their own good.”’84 The writer need not have worried since far from sufficient money was raised to fund the Chair; however, his words were prophetic where the Masque was concerned. The performances seem to have been well attended, but their reception is difficult to assess and the performance may not have been universally favoured. A reviewer in the Scotsman described the masque as ‘carried through on a scale of unusual elaboration’,85 bringing to mind the kind of deadly put-down that might well have emerged from the lips of Miss Jean Brodie. Indeed, the Edinburgh Women Citizens Association, whose drama section had taken part in the Masque, nevertheless criticised it, saying that the venue had been difficult to adapt to and that there were too many scenes to make a spectacular impression.86 A review of the book of words stated that although the episodes were adapted admirably, in linking these together Grant had indulged in ‘speeches that were a little didactic and super-explanatory’; this was clearly a criticism of her use of conversation between the Spirit and the ‘Voices in the Air’.87 All of which suggests that despite the novelty of the writing and an avant-garde production, it was overly worthy, and, as the letter writer to the Scotsman feared, this approach did little to redress the decline in Scott’s popularity. The sum realised by the events was a good deal less than had been aimed at; this was blamed on the economic difficulties of the time, but although these may have been implicated, Scott fatigue may also have been a reason.
Footnotes
- ^ 'Scott Centenary in 1932: Formation of Committee', The Scotsman, 5 July 1928, 8; and see also 'Societies Co-operating', The Scotsman, 18 May 1932, 9.
- ^ The letter of appeal for subscriptions was sent to the Scotsman newspaper and signed by the Duke as President of the executive committee; see ‘Appeal to Scotsmen’, 13 May 1930, 8.
- ^ See The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 29 for a listing of all committee members and associated groups.
- ^ See The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 29.
- ^ See Hugh Cheape, ‘Grant, Isobel Frances (Elsie)’, in The Biographical Dictionary of Scottish Women, ed. Elizabeth Ewan et al. (Edinburgh, 2006), 146-47.
- ^ 'Scott Centenary: £445 Handed to University', The Scotsman, 31 December 1932, 9.
- ^ 'Scott Centenary: £445 Handed to University', The Scotsman, 31 December 1932, 9.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 3.
- ^ 'Sir Walter Scott Centenary: Celebration Plans', The Scotsman, 19 March 1931, 10; for details of dates, see: 'Centenary Celebrations: And Appeal for Funds', The Scotsman, 22 March 1932, 8.
- ^ This numbering for the interludes does not appear in the original text but is appended to improve clarity in describing the complicated structure of the Masque.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932),
- ^ ‘Scott Masque: Usher Hall Production to be Staged in June’, The Scotsman, 18 April, 10.
- ^ ‘Scenes from Scott: The Edinburgh Masque’, The Scotsman, 22 June, 13.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932),14.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 9.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 9-10.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932),14.
- ^ I. A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932),14.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 14.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 15.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 15.
- ^ ‘Scott Masque’, The Scotsman, 18 April, 1932, 10.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 9.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 18.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 25.
- ^ 'Key Episode' in The Scottish People: A Masque, p.9.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 30.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 11.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 31.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 31
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 11.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 43.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 44.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 44.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 53.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 54-55.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 13.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 13.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 55.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 13.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 61.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 15.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 17.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 65.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 17.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 80.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 81.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 86.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 19.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 87.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 91.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 19.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 92.
- ^ I.F. Grant, A Masque of Walter Scott: A Series of Episodes from his Life and Works (Edinburgh, 1932), 94.
- ^ Described as an 'Epilogue' to the episode in The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 19.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 96; this was a Jacobite toast which refers to the molehill over which William of Orange's horse is reputed to have stumbled, throwing William. This fall ultimately resulted in his death.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 97.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 21.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 21.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 100.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 102.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 21.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 103.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 104.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 23.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 104-05.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 23.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 106.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 110.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 112.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 25.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 118.
- ^ A Masque of Sir Walter Scott: A Series of Episodes from his Life and Works Arranged and Dramatised by I.F. Grant (Edinburgh, 1932), 119.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 25.
- ^ The Scottish People: A Masque of Sir Walter Scott's Characters by I.F. Grant, Usher Hall June 21st to 25th (Edinburgh, 1932), 11; in the copy of the programme held by the NLS there is a handwritten note beneath this information which states: 'and John Ker Church Choir!'
- ^ 'Jock o'Hazeldean' was published within the anthology of song, Albyn's Anthology: or, a Select Collection of the Melodies and Vocal Poetry Peculiar to Scotland and the Isles, collected and arranged by Alexander Campbell (Edinburgh, 1816); this is also Child ballad no. 293.
- ^ See Dorothy McMillan, 'Cockburn, Alison n.Rutherford', The Biographical Dictionary of Scottish Women, ed. Elizabeth Ewan et al., (Edinburgh, 2006), 78.
- ^ These were suggested by Grant but it is not known for certain which, if any, were played in the performance.
- ^ 'Appeal for Funds', The Scotsman, 22 March 1932, 8.
- ^ Callum G. Brown, Religion and Society in Scotland since 1707 (Edinburgh, 1997), 140-42.
- ^ ‘Scott Masque: Usher Hall Production to be Staged in June’, The Scotsman, 18 April 1932, 10.
- ^ 'Usher Hall Transformed', The Scotsman, 20 June 1932, 7; this was also commented on in the Glasgow Herald’s review, 22 June 1932, 12.
- ^ 'Scenes from Scott: Edinburgh Masque, the Past Restored', The Scotsman, 22 June 1932, 13.
- ^ ‘A Proposed Sir Walter Scott Lectureship’, letter from George Douglas, The Scotsman, 29 April 1932, 9.
- ^ 'Scenes from Scott’, 13.
- ^ ‘Edinburgh Women Citizens and the Scott Masque’, Edinburgh Evening News, 27 October 1932, 9.
- ^ ‘Salute to Scott’, The Scotsman, 6 June 1932, 2.
How to cite this entry
Angela Bartie, Linda Fleming, Mark Freeman, Tom Hulme, Alex Hutton, Paul Readman, ‘The Scottish People: A Masque of Sir Walter Scott's Characters’, The Redress of the Past, http://www.historicalpageants.ac.uk/pageants/1229/