Royal Edinburgh: Her Saints, Kings, Prophets and Poets. Маргарет Олифант
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would be more fit for the reception of a young queen coming straight from princely Windsor than the narrow chambers in the castle. Among the many presents which she is said to have brought with her from England there is a special mention of fine tapestries for the adornment of her new habitation.
Thus the royal pair took possession of their kingdom, and of the interest and affection of the lively and eager crowd for which Edinburgh has always been famous—a populace more like that of a French town than an English, though with impulses sometimes leading to tragedy. James would scarcely seem to have been settled in that part of the ancient establishment of the abbey which was appropriated to the lodging of the King, or to have exhausted the thanksgivings of Easter and the rejoicings of the restoration, when he set himself to inquire into the state of the country and of the royal finances, to which he had been so long a stranger. There was no Civil List in those days nor votes of supply, and the state of the Crown lands and possessions, "the King's rents," was doubly important in view of the ransom yet to be paid, of which only a fourth part had been remitted as the portion of the Queen. The result of this investigation was anything but satisfactory. It was found that during the reign of Albany many of these possessions had been alienated, made into fiefs, and bestowed upon the leaders of the faction which supported the Regent. "There was nothing left to sustain the Crown," says Boece, "except the customs of burrows. He was naething content of this," adds the chronicler with pithy conciseness, "howbeit he shewed good will (gud vult) for the time." James had already griefs enough against the family of his cousin without this startling discovery; and his "gud vult" would seem rather to have been the serious self-control of a man who was biding his time than any pretence of friendliness with his unfaithful relations and stewards. Amid the early pageants and festivities it is indeed recorded that he knighted Walter Stewart among the other candidates for that honour, the flower of the noble youth, a band of twenty-six gentlemen of the best houses in Scotland; but this was probably a step which was inevitable, as it would have been impossible to leave his own nearest relative out of the list until he had finally made up his mind how the family of Albany was to be treated. It is stated that the complaints and grievances of the people brought him to a decision on this point, and helped him to carry out his revenge upon the house which had, in popular belief at least, the guilt of his brother's blood upon it as well as that of his own long confinement. Walter Stewart, whose only other appearance in history is that of a rebellious and undutiful son whom his father was incapable of keeping in subjection, was arrested in Edinburgh Castle about a year after James's restoration, and after an interval of several months his arrest was followed by that of Duke Murdoch and his son Alexander, both of whom were also seized in Edinburgh Castle, where they had probably retired for safety. A few of their retainers arrested with them were speedily liberated, and it became apparent that upon this doomed family alone was King James's wrath directed. They were tried at Stirling, by a court of their peers, under the presidency of the King himself. The offences charged against them were misgovernment and oppression of the people, the greatest of public sins: but it was no less the end of a long tragedy. The younger branch of the race had been engaged in a struggle with the elder for the last two generations at least: and it had been the royal line that had suffered most during that period. Bitterly, in blood and heartbreak and long suppression, they had been weighed down under superior force: but now the time of reprisals had come. As they stood there confronting each other, the stern young King on one side and his kinsmen on the other, with a quarter of a century of wrong between them, the shadow of the young prince at Falkland, and the old father at Rothesay, and the eighteen years of captivity full in the minds of all, what a day of reckoning at last! It makes the retribution almost more tragic, like the overwhelming fate of the Greek drama, that the men upon their trial had nothing to do with these crimes, unless it might be the last. Murdoch of Albany had not exerted himself to liberate James, but that was his only evident offence, and his sons were not instrumental, so far as appears, in any injury to their royal cousin. The sins of the fathers were to be visited upon the children. We are told that the two sons, young men in the flower of their youth, were executed one day, and their father and maternal grandfather, a very old man, the Earl of Lennox, whose share in the matter it is difficult to make out, on the next. Thus James settled summarily the question between himself and his kinsmen. The house of Albany ended upon the scaffold, and however just their doom might have been, there was something appalling in this swift and sweeping revenge, carried out rigorously without a sign of hesitation by a young king, a happy bridegroom, an accomplished and gay cavalier.
It must indeed be allowed, notwithstanding his poetry and his evident love of everything that was lovely and of good report, that the reign of the first James was a stern one. Every witness agrees as to his accomplishment, and that he was the flower of knighthood, of splendour and courtesy, the most chivalrous, the most daring, the most graceful and gracious of all his Court: and his genius as a poet is even more generally acknowledged. The King's "Quhair" as a poem is quite capable of standing on its own merits, and needs no additional prestige as the performance of a king. Had he been but a wandering minstrel Chaucer would have had no need to be ashamed of his pupil. It is full of delightful descriptions of nature and love and youth: the fresh morning as it rises upon the castled heights, the singing of the birds and fluttering of the leaves, the impulse of a young heart even in the languor of imprisonment to start up and meet the sun, with all the springs of new life which at that verdant season come with every new day—the apparition of the beautiful one suddenly appearing in the old immemorial garden with all its flowers, herself the sweetest and the fairest of flowers, all are set before us, with a harmony and music not to be excelled. The young Prince chafing at his imprisonment, dreaming of all the fantastic wonderful things he might do were he free, yet still so full of irrepressible hope that his impatience and his longings are but another form of pleasure, takes shape and identity as distinct as if he had been one of the figures in that famous pilgrimage to Canterbury, which had been part of his training in this delightful art. If James had never reigned at all he would still have lived through all these centuries in the guise in which he stood at his window on that May morning, and suddenly, amid his youthful dreams, beheld the lovely vision of the Lady Jane emerging from under the young spring verdure of the trees. There is a certain window not generally supposed to be that at which the royal captive stood—a window in the Norman Tower of Windsor Castle, now fitly garnished and guarded by sympathetic hands, from which the spectator looking out upon the deep moat-garden underneath in the circle about the old donjon will scarcely be able to withstand the thrill of feeling which attends a poetic scene and incident fully realised. Nothing could be more green, more fresh, more full of romance and association, than this garden where all is youthful as the May, yet old in endless tradition, the garden of the Edwards and Henrys, where Chaucer himself may have thought over his accounts or taken the delightful image of his young squire "synging" who was, "or flouting all the day" from among some group of bright-faced lads in their bravery, where the countess who dropped her garter may have wandered, and the hapless Henry, the mild and puny child who was born there while James was undergoing his far from harsh captivity, played. James Stewart's name, had he been no king, would have been associated with this place, as that of his master in poetry is with the flowery ways of Kent.
Nor was his inspiration derived alone from the well of English undefiled. A still more wonderful gift developed in him when he got home to his native country. Though the tones of Scotch humour were much less refined, and its utterances at that early period could be scarcely more than the jests and unwritten ballads of the populace, yet his early acquaintance with them must have lingered in the young Prince's mind, acquiring additional zest from the prepossessions of exile and the longing for home. And when the polished singer of the King's "Quhair" found himself again in his native land he seems to have burst forth with the most genuine impulse into the broad fun, rustical and natural and racy of the soil, which perhaps was more congenial to his Scottish audience. "Peblis to the Play" and "Christis Kirk on the Green" are poems full of the very breath of rural life and the rude yet joyous meetings of the country folk at kirk and market, which with wonderfully little difference of sentiment and movement also inspired Burns. He must have had a mind full of variety and wide human sympathy almost Shakspearian, who could step from the musings of Windsor and the beautiful heroine, all romance and ethereal splendour, to the lasses in their gay kirtles, and Hob and Raaf with their rustic "daffing," as true to the life as the Ayrshire clowns of Burns, and all the clumsy yet genial gambols of the village festival. It is one of the most curious and least to be expected