Royal Edinburgh: Her Saints, Kings, Prophets and Poets by Mrs. Oliphant - HTML preview

FOOTNOTES:

[1] We here take Shakspeare's Prince Hal for granted, as we feel disposed at all times to take the poet's word in defiance of history; though no doubt the historical argument is calculated to throw a chill of doubt upon that gay and brilliant image.

[2] Buchanan's account is not so bloodthirsty: he represents Alexander as entertaining his guests with stories of his restoration to favour, and approaching deliverance, and dismissing them in all mirth and friendliness though heavy with wine: so that his guards having incontinently fallen asleep at their posts he was able to make his escape.

[3] This name and assumed character is generally supposed to belong to James V: but all the accompanying circumstances seem to point so much more to what is recorded of James IV, that I venture to attribute them to him. If it is an error there is this, at least, to be said in favour of it, that the story is as applicable to one as to the other monarch.

[4] It would be curious to know what language Mary spoke when she is reported to have made these very characteristic utterances. It is one of the points in the discussion about the famous Casket letters that she could not write Scots. Did she make love and make war, and hold courts and councils of this grave description, in French or in a broken version of her native tongue? No one ever says so, and it is surely a thing that could not be passed without remark.

[5] I must explain that this chapter was written before the publication of the recent, and I believe excellent, biography of Buchanan by Mr. P. Hume.

[6] In this respect I venture to think all Scotland errs. Many houses throughout the country, built roughly with a rude and irregular but solid mason-work, were made points of light in the landscape by these washes of colour which poor dwellings retain. There is a yellow which I remember on many old houses in which the stains of time and weather produced varieties of tone almost as agreeable as the mellowing of marble under the same influences, which are now stripped into native roughness and rise in sombre grey, sometimes almost black, abstracting a much-needed warmth from the aspect of the country round.