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The River Clyde

The River Clyde
The River Clyde Near Midculter in Lanarkshire
Showing posts with label Andrew Hunter. Show all posts
Showing posts with label Andrew Hunter. Show all posts

Friday, May 5, 2017

Part Four. The End Game. Chapter VI. Baring.

1. Remiss

Epigraph
Therefore* the nobles and common people being situated in their proper places,
They who are on the other side keep the Queen.
And thus they retain all the strength and fortitude in the kingdom.

*Therefore is an archaic meaning of wherefore and makes the most sense in this context.

August 1548

Twice Lymond had been summoned to account for his treachery at Solway Moss in November 1542. Twice he had failed to appear. He was named outlaw and rebel. He evaded capture and the law for six years, until now. Now he must face the charges: treason, aiding and abetting the enemy, murder, assault, robbery, and more offenses against Crown and Church.

While Lymond awaits trial, set for August 8, Will Scott engages in a "frenzy of inactivity," Buccleuch returns to the siege of Haddington, Richard stays at Midculter but prepares to travel to Edinburgh by the 8th, and Sybilla heads out to who knows where to do who knows what.

***
August 1, 1548

Loose ends begin to be tied up. Sybilla's destination is Ballagan, the Hunter estate. Andrew Hunter at first is welcoming and unconcerned if perhaps puzzled by her visit. His perplexity quickly turns to concern covered by lies. The hexagonal brooch has had a storied history on its return journey to Ballagan: Andrew's mother, Mariotta, Agnes Herries, Sybilla, and finally Dandy.

Sybilla, "the calm within the hurricane," lays out the story of who sent Mariotta the jewels and why: Andrew Hunter sent them in hopes of luring Mariotta away from Richard. As a rich widow, she would solve all Dandy's financial problems. But Mariotta, infatuated with Lymond, assumed the jewels were from him. Once she confided her suspicions to Dandy, he was flummoxed at first but quickly adapted his plan to let Mariotta believe it was Lymond sending the jewels. This still served Dandy's purpose, which was to create a rift between Mariotta and Richard. Mariotta in fact still believes Lymond sent the jewels. But Sybilla knows better. Furthermore, she knows Andrew Hunter has tried to kill Richard four times:
  1. At the papingo shoot.
  2. At the Nith crossing.
  3. With a poisoned drink.
  4. Using the three gypsies on the road.
The papingo shoot: After initially trying and failing to slip away from Mariotta and Agnes, Dandy finally extricated himself with just enough time to position himself "on the flat" from which he would be able to loose his arrow and hit Richard right after Lymond finished shooting at the parrot. Everyone (except Sybilla) assumed it was Lymond who shot his brother. Dandy was trying to kill Richard. Fortunately, he was rushed and not in a good enough position to succeed.

The Nith crossing: Dandy purposely led Richard and Agnes into deep, swirling, treacherous waters. They both would have drowned--and very nearly did--had Richard not been an exceptionally good swimmer and also kept his wits about him. Once Hunter realized Richard and Agnes were not drowned, he had no choice but to assist them out of the river.

The herbal drink: Sybilla mentions this in Pt 3, Ch II, Sec 1. 
“Oh, Richard. Dandy Hunter brought one of his mother’s appalling herbal concoctions under oath to make you take it on your next campaign, but I haven’t the heart to inflict it on you...."
But wise Sybilla, already suspicious of Dandy, checked out the concoction and determined it was poison. Not wanting to tip off Hunter, she said she would lie to him and encouraged Richard to do the same: "I shall tell Dandy you drained every drop and left in a condition of enteric rapture: only remember to fib when you see him.”

The gypsies: Dandy hired the three gypsies to waylay and kill Richard on his way home. However, Johnnie Bullo, the Gypsy King, learned of the plan and stopped the murder. We know from the previous chapter that Andrew Hunter, along with Buccleuch, saw Richard off when he left Edinburgh for Midculter the night the gypsies attacked him. Johnnie is still in Sybilla's "employ," so he had an incentive to stop the murder.

Dandy at last realizes he is trapped and endangered by Sybilla's knowledge. His first reaction is one Sybilla planned for, that is, to murder her. She, however, holds all the cards because Johnnie Bullo stole Dandy's "charter chest" containing the evidence of his treason from the same room where his mother's "valuable" recipe book was located. Sybilla had already located the chest on her earlier visit to Ballagan with Mariotta and Agnes to see Catherine Hunter. (Pt 2, Ch III, Sec 1)

No one else thought anything about Hunter's trips to the Ostrich Inn, which is over the border in England. Molly informed Lymond all about Dandy's business at the Ostrich in Pt 3, Ch III, Sec 1. Molly told Lymond about Will coming to get her to tend Mariotta after her miscarriage:
“It was the same boy who came to fetch me from the Ostrich. Did you know he also had business with Dandy Hunter?”
The preoccupied blue eyes came up, fast. “Tell me.”
Molly shrugged. “Nothing much to tell. Hunter spent nearly a week with us, for no very good reason, and seemed to have a lot of questions to ask on some curious subjects. Joan saw Scott speaking to him the night he came for me....
She gave him a verbatim account of the talk between Scott and Hunter, and he listened without comment. At the end she said, “Take care. Hunter is a lot wiser than the child. It could mean trouble.”
Lymond hinted at Hunter's involvement very subtly during the sword fight with Richard at Flaw Valleys when he quoted a children's rhyme to Richard: ""Handy Dandy prickly prandy..." (Pt 4, Ch 11, Sec 3)

No one else knew Hunter's connection with George Douglas, revealed by the fact that Dandy knew Jonathon Crouch was George's prisoner. The only reason George would have bothered with a minor figure such as Dandy was that they were in "the same sweet trade," that is, they were both spies. But the spy trade was not sufficiently remunerative for Hunter's purposes, so he hatched the Mariotta plot.

Despite the thoroughly damning evidence Sybilla has against Hunter, she has done nothing with it as of yet out of concern for Catherine Hunter and a fascinating Crawfordesque sense of justice:
"I should like to see you hanged. Because of you, I nearly lost every child I have left: I did lose my grandchild. But that would be an insult to all the magnificent, vicious criminals we already have living freely among us."
What an interesting remark! Andrew Hunter caused great pain and suffering to Sybilla and her family, and yet he does not reach the level of a truly vicious criminal deserving death. This remark speaks volumes about the state of affairs in Scotland. There is also her concern for Catherine who, although a thoroughly unpleasant and mean women, still evokes Sybilla's pity. She does not want Hunter's mother to suffer the death of her remaining child because Sybilla knows the bottomless depths of that particular pain.

Sybilla extracts a confession and an exoneration of Lymond from Dandy, which shows far more mercy than he bestowed upon all the Crawfords. The chest with the evidence against Hunter will be opened in two days, giving him enough time to hightail it out of Scotland forever.

***
Catherine Hunter truly is a miserable woman whose sole pleasure seems to come from sharing and inflicting that misery. Sybilla allows Catherine to whine and complain before finally letting her know in Sybilla's no-nonsense way that she is determined to help her against her will, more than Catherine knows and probably deserves. Catherine is not stupid. She knows that Sybilla is here because of trouble, and Catherine is not surprised that it is her son's fault. Sybilla is merciful. She spares Catherine the whole truth and tells her just enough to make it clear there is no alternative. Moreover, Sybilla must have funded Dandy's exile because he left with money in hand, so her mercy extends to generosity. As cold and nasty as Catherine tries to appear towards Dandy, the "the tears lying silently in the bitter troughs and seams of her face" betray the depth of her agony in losing another child. At least with this one there remains hope, however faint, he may someday return.

***
August 3

Back at Midculter Sybilla finally explains what she (and Johnnie Bullo) have been up to, who sent the jewels, and the depth and breadth of Andrew Hunter's treason and murderous plotting against Richard. Despite everything, Richard and Mariotta only want the confession absolving Lymond made public and the rest held in surety for Dandy's continued good behavior (and absence from Scotland).

We learn two other important things in this short section. First, why Sybilla blackmailed Johnnie Bullo. She wanted him to do something dangerously illegal by breaking into Ballagan and stealing the charter chest. Second, why Sybilla let Dandy leave the country. She is terrified of losing her younger son (it is "only five days" until the trial) and she cannot inflict that pain on anyone else, even if she dislikes Catherine and hates Dandy for what he has done.

***
August 3-5

August 3: Will Scot is glumly trying to figure out how or even if he can save Lymond.

August 4: The Crawfords arrive in Edinburgh. Many of their friends have no idea they are not here to enjoy the demise of their black sheep but instead are desperately trying to save him:
...a surprising number of their friends came visiting, with an echo of Lady Hunter’s tart “good riddance” on their lips.
August 5: On orders of "the Crown," Lymond is to face a Judicial Committee of Parliament on the day before the formal trial. "The Crown" in this case is Mary of Guise.

Will Scott is incensed at this illegal action. Richard is calm and philosophical. He understands why the government is doing this and the ramifications of its action. They will question Lymond and decide his guilt before pushing this verdict through Parliament the next day. The reason for this extraordinary hearing is simple:
"Lymond knows too much. He could shatter half the Government at a public hearing.”
Spilling his secrets will not help Lymond. The government has to condemn him and carry out his execution as quickly as possible.

The title of this section is intriguing. Remiss usually means negligent; an earlier meaning is weak. It can also mean slack, sluggish, or indolent. There is also an etymological connection to remission, that is, the forgiveness of sins from Latin for a word meaning sending away. All these make sense in the context of this section: Dandy has been negligent enough to be caught by Sybilla. He is a weak man. His mother is sluggish and indolent. Sybilla provides a kind of forgiveness to both Catherine and Dandy's sins by sending him away. Finally, I wonder if Dunnett had the chess term remis in mind, too. Remis is an archaic term for a draw in chess. At the moment, that is all Sybilla has played to in this dangerous game. Now...

2. The Queen Moves to Her Beginning

August 7

The Assize, a civil and criminal court session, is preparing to get underway. Sybilla must be in a state
of almost unimaginable anxiety knowing the likely outcome, but she bravely "rattles on" to keep from breaking down. Lymond is in the Tolbooth, a fearful place of imprisonment, torture, and execution. The sentiment among the public is clearly against Lymond. The chanting of Psalm 109 must pierce Sybilla's heart. It is a long and dreadful series of curses, which extend to the condemned man's family:
When he is tried, let him be found guilty,
and may his prayers condemn him.
May his days be few;
may another take his place of leadership.
...
May no one extend kindness to him
or take pity on his fatherless children.
May his descendants be cut off,
their names blotted out from the next generation.
May the iniquity of his fathers be remembered before the Lord;
may the sin of his mother never be blotted out.
May their sins always remain before the Lord,
that he may blot out their name from the earth.
There are twelve Assessors, but the key figure here is Henry Lauder, Lord St. Germains, Lord Advocate of Scotland. He is the prosecutor. The opening scene is from his point of view, and it is fascinating because Dunnett offers us Lauder's random thoughts and insights rather than a dull review of the impending legal proceedings. He is not particularly interested in the coming court session, viewing it as yet another dull duty on a hot summer day. His thoughts meander as his eyes wander around the room.

Lauder has just won a bet on whether or not the Earl of Argyll (Archibald Campbell) is on speaking terms with Bishop Reid of Orkney, the President of the Court Session. Lauder wonders if anyone has warned the prisoner about Reid's deaf ear, which is "responsible for more executions, whippings and tongue borings than even its owner realized." The room is stuffy (it is August, after all) and Lauder congratulates himself for wearing his lightest jacket. He rues his baldness. He peruses those assembled, both jurors and spectators, and we thereby learn who else is in the room: among the dozen Assessors are Buccleuch, George Douglas, and John Maxwell (now Herries), all people who might be inclined towards Lymond. Among the spectators are Richard, of course, Tom Erskine, and Will Scott.

Then Lymond is brought in and, at last, Lauder is surprised and intrigued. Clearly, he does not know Lymond.
Unobtrusive, beautiful clothes; fine hands; a burnished head with a long, firm mouth and heavy blue eyes, spaciously set. He had been ill all right: the signs were all there. But his face was beautifully controlled, giving nothing away.
Furthermore, Lymond's voice is wonderful--clear, controlled, perfectly pitched. Lauder gives "an unlegal twitch of pure pleasure" at this unexpected turn of events and prepares to enjoy what until now had promised to be a rather tedious day. 

***
The "preliminary examination," which is of course the real trial with the proceedings the following day a mere formalilty, begins with a dismissal of all the accusations against Lymond regarding harm to his family. Naturally, they have chosen not to pursue these charges. Lauder moves on to:

Charge 1: treasonous association with Lord Wharton three years earlier.

Lymond admits he was with Wharton briefly, only long enough to gain his trust in order to mislead Wharton's men on one of their cross-border raids.

Lymond claims he had never before this involvement with Wharton "commanded a force," but he is unabashed in how he learned to do so. He knows his geography and his chess:
“The one shows you where to go, and the other what to do when you get there. A man so fortified would be unique in Scottish arms, don’t you think?”
Lymond's sardonic side is reasserting itself. Lymond is accused of being in Wharton's pay based on what he had said to Richard: "Well, he's certainly paying me." Lymond explains that when he said his money came from Wharton, he meant he forcibly extracted it, not that he was in Wharton's pay.

Charge 2: "conspiring to lay misleading information about the intentions of the English army during the western invasion of September last year; of attacking a Scottish force under Lord Culter and the Master of Erskine, and of taking from their possession an English messenger bearing a valuable dispatch.”

This charge refers to Lymond's encounter with Richard on the road to Annan. (Pt 1, Ch I, Sec 3) Now it becomes clear what Lymond was doing.
  • Lymond had met Charlie Bannister, the English messenger carrying a message from Grey to Wharton, read his message, and then sent him along his way to Wharton with the message from Grey.
  • Richard's men captured Bannister, who destroyed the message.
  • However, Bannister knew the contents of the message, and Richard was planning to extract it from him.
  • Lymond encountered Richard and his men with Bannister.
  • Knowing Richard would not believe anything he said, Lymond used reverse psychology. He told Richard that Grey's message to Wharton and Lennox ordered them to move north when in fact the message told them to retreat south to England immediately. 
  • Lymond freed Bannister so he could deliver the message to Wharton and Lennox in Annan.
  • Richard did not in fact believe Lymond and moved his troops south as Lymond intended.
  • Richard's men thus encountered Wharton and spent the night chasing him south of Annan.
Charge 3: serving the English on the West March for his own ends.

Lymond is accused of opening an escape route for Lennox and stealing some of the cattle used as decoys. He stole no cattle. All the cattle were returned to the Somervilles. Maxwell, now Baron Herries, speaks for Lymond and confirms his story, adding his own commentary that the plan was Lymond's and the execution a "remarkable feat of leadership." 

Things are not going quite as smoothly as Lauder and Argyll had anticipated. They need to move swiftly to the most damning charges.
...the Lord Advocate, who missed nothing, ran his eye quickly over the remaining charges and caught Argyll’s attention.
Charge 4: writing and sending a message that brought Buccleuch, Culter, and their men into danger from the English army at Heriot.

On the pretext of handing Will Scott over to Grey, who still very much wanted him because of what happened at Hume, Lymond set up an elaborate ruse:
  • Lymond hoped to meet Samuel Harvey, who was supposed to be with Grey.
  • On the pretext of handing over Will Scott, Lymond enticed Grey to meet him at Heriot.
  • Lymond ensured Will was told of the meeting too late to arrive in time.
  • At the same time, Lymond sent messages to Buccleuch and Richard to enable them to capture Grey, not knowing Grey would come with a larger than anticipated force.
  • Grey knew nothing of Lymond's message to Buccleuch and Culter and so did not know the Scots were coming to Heriot.
  • Tom Erskine and George Douglas both confirm Lymond's story that Grey had nothing but enmity for Lymond and was not in collusion with him.
Charge 5: Lymond's treasonous association with Lennox.

Lymond explains his history in the French galleys, how he escaped, and how he applied to Lennox to protect him, knowing Lennox to be a traitor and a thief. Lymond served as Lennox's secretary until he was able to abscond with a rather large portion of the Scottish gold Lennox had stolen, much of which Lymond returned to Scotland by "devious" means. He used the rest to pay an army of mercenaries that became self-supporting on the continent.

Charge 6: Taking a message about Queen Mary's departure for France to Lord Grey at Hexham.

This is "not a matter of doubtful history four years old; but a question of treason freshly committed and subject to minute examination": the events leading up to the death of Acheson at Hexham.

Lymond cannot prove what was in his mind when he shot Acheson. Even Tom's testimony is insufficient because Lymond might have benefited from Acheson's death. And Bishop Reid puts forth Lymond's reputation as a reprobate and abuser of woman by bringing up how Lymond used Margaret Douglas as a human shield at Hexham. Lauder is content to sit back and let the Bishop lead the attack on Lymond's character. 

And now we come to the nub of the matter: Christian Stewart. Henry Lauder knows Reid has touched Lymond's tenderest, sorest spot with Christian:
At last. Now, by God, you’re hating it, thought Lauder. And I’m going to thrash you until you hate me as well. And then, my lad, you’re going to lose that cool temper and the Bishop had better look out.
Lauder lays out the case against Lymond as regards Christian's death. He accuses Lymond of seeking her death, even perhaps of causing it. However, Tom Erskine, Buccleuch, and even George Douglas all speak up in defense of Lymond. Lauder, however, remains unconvinced: 
“We are left with Hexham, and what happened immediately before. So complex is the picture this time, so various the possibilities, that we can isolate the truth, it seems to me, in one way only."
That "one way" is to go back six years to the battle of Solway Moss, Lymond's capture, and Lymond's supposed treason.

But Lymond is on the verge of collapse and an hour's recess is ordered.

***
La Pendu
The Hanged Man
With all the zeal of a reformed alcoholic, Will is determined to redeem himself by saving his former leader. He finally sees a way. Will Scott is off in a hurry to see Big Tommy Palmer, whom Buccleuch had captured during the raid near Haddington. Somehow, Will has gotten wind of the papers in Palmer's possession. Palmer, you may recall, is the late Samuel Harvey's cousin and, it turns out, is now in possession of the dead man's confession that exonerates Lymond. Once Tom Erskine helps Will gain entry to the Castle tower, Will ascertains that Harvey's papers are in Palmer's pack. He tries to extract the papers with money and with threats, but the English are too quick and threaten to burn the papers if Tom or Will call for the guards. Palmer will accept nothing from Will except his agreement to play tarocco until one of them wins everything--all the money, clothes, and other possessions in the room, including Samuel Harvey's confession, Palmer's final stake.


Tarocco is the Italian name for tarot cards. Originally, they were used for games, in particular ones
involving the taking of tricks, similar to the modern game of bridge. It was only later (mid-18th century) that they began to be used for divination.


***
The hour recess stretches into two because of Lymond's poor physical condition. When he reappears before the Assize, he is composed and ready to continue. What follows is a lengthy response to the final charge, an explanation of what happened to Lymond after he was captured at Solway Moss.
  • Lymond, along with about 1,000 other Scottish prisoners, was taken to London.
  • After three days in the Tower, Lymond was moved to private lodgings, the house where he met Margaret Douglas.
  • Lymond did not return to Scotland with the others 10 days later.
  • Lymond was not asked to sign the loyalty oath the King Henry VIII of England because he was not a noble.
  • Margaret Douglas persuaded her uncle King Henry to give Lymond a manor house by telling him that Lymond had discovered a number of state secrets, real or imagined.
  • Lymond cannot return to Scotland because he is thought to be an English spy, but King Henry does not want to kill him because he has become a useful scapegoat.
  • Instead, Henry had Lymond taken to Calais and allowed to fall into the hands of the French, who made him a galley slave.
Lauder turns his formidable rhetorical skills on Lymond, using the young man's own eloquence and composed demeanor against him. Worse still, there is one damning piece of evidence: Lymond's signed letter recommending the convent on his land where he had stored gunpowder before Solway Moss be blown up. Lauder knows that he has cornered his quarry.

***
The tarocco game continues in the "suffocatingly crowded" castle tower. Palmer is a superb player, but his play is "careless" if sure. However, Will has the stronger motive for winning:
After all they’d gone through— after what the Dowager had suffered— after Christian’s death— after the fool he had made of himself twenty times over— no one should present this prize under his nose and snatch it back like a toy from a kitten.
Palmer's superior experience and Scott's determination are making for a grand game and spectacle.

***
The other game is coming to a head. Lauder "was within Lymond’s guard, and the passport was the name of Lymond’s sister." Eloise. Eloise holds the key.

Lymond has admitted the letter is his, but its intended recipients were the Scots, not the English. Lymond's notes were appended to those written by an English spy and left at the convent to incriminate him for the explosion at the convent. Unfortunately for Lymond, the handwriting, while not incontrovertibly his, bears a strong resemblance to Lymond's.

Buccleuch castigates Lymond for not thinking through the possibility that his letter about the gunpowder might be intercepted and used against him and the Scots, as indeed it was. Lymond's response is telling:
Sir Wat said, “Ye gomerel: if that’s right, why the devil didn’t you watch that first letter? You could guess what’d happen to it in the wrong hands, even if you didn’t know the lassies had gone back?”
“The thought isn’t new to me,” said Lymond, his voice empty of expression. “I took all the precautions I could at the time.”
“But not enough.”
“Obviously..."
I am reminded of the previous chapter in which Lymond cries out to Richard that he made "one mistake," a mistake of monumental import for which Eloise and the nuns paid with their lives and Lymond and his family have paid with torment for six years. Lymond has been trying to redeem himself and redress this wrong, but thus far he has failed.

Lauder makes a compelling case against Lymond, most notably calling his character into question. When Bishop Reid joins in and drags Will Scott into the discussion, Buccleuch explodes. Lymond, it seems, transformed his son from a weak, lazy, aimless, stupid boy into an "exceedingly efficient fighting man."

However, the ultimate attack is left to Lauder, who insinuates Lymond may have had a dark motive for wanting the convent destroyed with his sister in it:
"...Mr. Crawford may have had reasons— very cogent reasons of his own— for encouraging and even inciting the attack at the convent."
Lymond understands that Lauder is implying something very ugly, very vile about Eloise, some dark Crawford secret or rumor that has persisted after her death.
“I see this idea is not new to you. Some lawyers believe that dirt will do as well as evidence any day; but Mr. Lauder, all heat and no light, like hell-fire, is not like that. He is simply being provocative; without of course making concessions to the feelings of either the laird of Buccleuch or of other members of my family.”
Lauder has cleverly linked Lymond's supposed corruption of one young person (Will Scott) to another (Eloise) as a way of casting further doubt on Lymond's character. Lymond wants to end the tribunal before any additional opprobrium is directed towards his dead sister and, by implication, his entire family.

Tom Erskine, who has returned from the tower, plays for more time, saying the Assize must hear Will Scott's evidence before concluding the hearing. He tries to speak to Lymond's actions at Hexham. The court is not interested. They are interested in Richard's opinion. Lauder, however, realizes the moment Culter opens his mouth he has made an error in letting Richard speak. Richard's efforts to exonerate his brother are met by Lymond's even more strenuous efforts not to let him do so. Lymond knows Richard will suffer if he is believed to have tried to help him escape, and every fiber of Lymond's being is directed towards protecting Richard and the rest of his family. Lymond dismisses Richard's statements as "whitewashing...intended, I gather, to protect my sister’s reputation: that’s all.”

It does not matter what Richard or Erskine say. Lymond is as good as dead at this point. But Lauder wants it all done with "righteousness and decorum," and he wants to stick to the facts and the legal points of the indictment, eschewing the Bishop's tawdry detour into Lymond's personal failings and scandals.
He [Lauder] was clever enough not to brush again through the harsh Orcadian pastures of Bishop Reid’s imagining.
Instead, Lauder lays out a case as harsh and brutal as Psalm 109.
“Such a man is Crawford of Lymond: such a man this land may pray never to see again in the difficult ways of her history. I say: busy yourself no longer about him, for he is better condemned, and most harshly dead.”
Lymond is offered the opportunity to say something in his own defense, an offer he declines. Instead of offering a defense of his actions or character, Lymond launches into his longest speech of the entire book. The speech is a masterpiece of subtle reasoning ostensibly about patriotism but in fact about much more: "life and no life, fact and lie, treason and patriotism, civilization and savagery."

The climax of Lymond's argument is a strange one under the circumstances: for most men, patriotism and fighting for one's country is nothing more than "a vehicle for shedding boredom and exercising surplus power or surplus talents or surplus money; an immature and bigoted intolerance which becomes the coin of barter in the markets of power.” He believes Scotland is a nation with all its failings and strengths that is worth saving and improving, but only if the Scottish people can "be brought to live in full vigour and serenity, and who, in their compassion and wisdom, will take it and lead it into the [right] path.”

Lauder, bless him, loves Lymond all the more for his eloquence and cool reasoning in the face of almost certain death. Even Argyll is impressed enough by Lymond to admit that the Lord Advocate's portrait of Lymond is "only one reading" of Lymond's character and he did not show them "the whole man." In fact, all the charges except the original charge of treason have been answered in such a way that they cannot be sustained. However, the charge of treason stemming from the events that followed Lymond's capture at Solway Moss and the explosion of the gunpowder stores at Lymond Convent have in no way been satisfactorily addressed. Lymond is warned to prepare himself for the worst.

After this grueling day of "argument and heat and concentration and the concealed ravages of fear," no one remembers they had promised to wait to hear from Will Scott.

***
That night, with candles burning in the tension-filled rooms of Edinburgh, the tarocco game continues in the Castle Tower, stuffed to overflowing with men, sweat, stale air, stale beer, and Will Scott's determined anxiety to win. He has won all but Thomas Palmer's prize: the one and only thing he wants. The tarot cards in his hand, which he stared at "until they glimmered in his eyeballs like invitation cards to hell," are merely good. To win once and for all, Will must trust to luck. He bluffs. Palmer does not have the Fool. Will Scott has won the confession. 
Il Matto
The Fool
Thomas Palmer feels like a winner, too, because he got what he wanted: the greatest tarocco game in his wide experience. But the pièce de résistance he had not imagined in his wildest, most vivid imaginings. Will Scott learned to play tarocco from the man Palmer himself had taught, that man with "a tongue with the perishing shakes," our old friend Jonathan Crouch. Will's time with Crouch while he was in Lymond's custody was not wasted after all.

***
Lauder and Will rouse a drugged Lymond to deliver the good news about Harvey's confession. Lauder seems almost as happy as Will that Lymond will be exonerated. Will learned from George Douglas's wife that Palmer was Harvey's cousin and had the confession. Who switched the pages? No one seems to know whether it was accidental or deliberate, but it hardly seems the kind of thing that would happen by accident. Perhaps, as Will speculates, Harvey simply changed his mind about confessing the truth. Of course there were a lot of Douglases at Haddington at the same time as Harvey and Christian: "We’ve got half his relations in custody here."

The Douglas family comes in for a sustained discussion, which is a good indication that their story, like Lymond's, is not over. There is more Douglas mischief to come! Lymond's insights into the Douglases is spot on and worth remembering:
“The unpleasant truth is that, being a long-sighted family, they will attach themselves to the winning side, and not necessarily to the side that pays them most....These are stormy petrels: they show where the heavy seas are coming from and are to that extent useful."
In short, the Douglases are the canaries in the coal mine, useful indicators of something dangerous up ahead. Only the Douglases, unlike the canaries, usually manage to finagle their way out of peril. Lauder puts Buccleuch into an entirely different class, as a true Scot and a "sturdy patriot" trying by "queer and crooked ways" to navigate the stormy waters of Border politics and warfare.

Against Will's objections, Lymond allows Lauder to take the confession to make known its contents. Contrary to advice he himself has proferred, Lymond admonishes Will that he must learn to trust somebody. This is a very different Francis Crawford from the brash, obnoxious young man we first met flirting with Mariotta and setting fire to Midculter.

What will Lymond do now? Other than come to terms with not being divided into four pieces, he is making no plans. Beaten, drugged, exhausted by the previous day's ordeal, Lymond seems to be almost in shock that his life will continue, and he is none too sure that is a good thing for others or for him:
“There’s an unnatural conspiracy to keep me alive, that’s all. I hope to God you don’t regret it. I hope to God I don’t regret it."
***
Early Morning, August 8

Sybilla is sitting by a window in the Crawford's Edinburgh house, every nerve on end, after finally sending Richard and Mariotta off to bed. Richard had been made to recount every detail of the hearing, and Sybilla knows there is no hope for her younger son now because the only thing needful is missing: proof. Without proof, all her efforts over the past five days to cajole and persuade have come to naught, even though "people would lend her a needle to cobble the moon to her gates if she asked for it."

The refrain of an English ballad keeps running through Sybilla's head:
There was a Ewe had three Lambs,
the one of them was blacke,
There was a man had three sonnes,
Jeffery, James and Jacke,
The one was hangd, the other drownd,
The third was lost and never found,
The old man he fell in a sownd,
come fill us a cup of Sacke.
Choice of Inuentions
She has already lost one of her sheep. Now another is a day away from execution. Lymond is her "black sheep," and why not? she thinks. Why must all the sheep be monotonous white? Why can't some be rare and different? She takes small comfort in the fact that all the misery surrounding Lymond's life has not been entirely in vain. Richard's eyes have finally been opened to the truth about his brother, and that is something.

Into her dark night of the soul rides an unlikely messenger of light. Tom Erskine arrives with news of the miraculous proof of Lymond's innocence.

Within half an hour, Richard and Erskine, along with Lauder, Argyll and other officials, are in Mary of Guise's chamber as Lymond is brought in. This is Mary's first encounter with Lymond. She wants to see him because she is curious. Lymond responds with a self-deprecating pun that he is the curiosity that has gotten himself into this predicament. Mary's own dry wit is on display in her brief scene when she tells Lymond they must speak English because her Justiciar cannot follow him if he speaks French and cannot follow her if she speaks English. 

Mary, accustomed to swimming in the cesspool of corruption, finds herself in a unique situation--addressing an innocent man who has been wrongly accused:
"We had, I thought, reached the safe haven of corruption where we need never fear to misjudge anybody. I am astounded to find myself wrong.”
The Dowager Queen lists all the many ways in which Lymond helped her and Scotland, ways that only this night have been made known to her, including his role as the mysterious monk at Inchmahome who taught her daughter "scurrilous poetry." Mary is appalled to discover that relying on "a shabby and ransacked armoury, I have thrown away tempered steel." How can she compensate Lymond?
"A polite apology, and Mr. Lauder’s regrets?”
“Modified regrets,” said the Lord Advocate. “I love Mr. Crawford like a son, but I wouldn’t have missed that examination.”
“If you mislay your notes,” said Lymond, “you will find them engraved on my liver."
Mary of Guise, grateful though she is for Lymond's services to Scotland and to her, nonetheless questions whether or not he is with her. Francis Crawford, in keeping with his detached, analytical persona, answers honestly that he thinks so. This cannot be the answer the Queen Dowager hopes to hear, but she surely knows it is the honest reply. And an honest man is far more valuable to her than any number of sycophants.

Most important of all the services Lymond has rendered Mary and Scotland is the protection of her daughter, who is sailing to France at this moment, thanks to Lymond's heroic efforts to keep the secret of her departure from the English. For now, the English, who have wooed Scotland with cannon, have lost. What reward other than little Queen Mary's love for Lymond, can her mother offer him?

Lymond says he wants nothing more, but the Dowager Queen knows better, knows there is one thing he desperately wants and needs but will not ask for.  Francis looks as a door is opened into what he assumes is a vacant room, and he thinks...
In a lifetime of empty rooms, this was another.
But waiting within, there is "a whisper of silk, a perfume half remembered, a humane, quizzical, intuitive presence." Sybilla throws open her arms and, we imagine, embraces her wayward, wonderful black sheep.

So ends Lymond's first adventure, in the arms of his mother, who welcomes him back into the fold.


Final Comments

The introduction of the occult via the palmistry, the Philosopher's Stone, and the tarocco game are instances of an important theme that runs throughout The Lymond Chronicles. This is interesting because Lymond himself seems to be a quintessentially rational man of the Renaissance, a humanist who would reject such esoteric pursuits as superstitions.

The Game of Kings has no traditional antagonist against whom our protagonist struggles. There are numerous villains (and one really great villainess in Margaret Douglas). One could argue that Lymond is both the protaganist and antagonist, being the conflicted, contradictory, obdurate fellow he is. I think the real antagonist is Lymond's past, against which he fights the entire novel.

Francis Crawford's motives throughout The Lymond Chronicles are a source of endless speculation and fascination for readers. In The Game of Kings he has come back to Scotland to try to prove his innocence and clear his name. That, however, is a goal, not a motive. His motive in restoring his reputation is to remove any doubt or scandal associated with the Crawfords. He is more interested in his family's name and honor than his own personal repute or even his life.

Dunnett has been called a master of the "unreliable narrator," a character whose point of view for whatever reason cannot be trusted as accurate, truthful, or factual. The one person whose perspective is missing from almost all of The Game of Kings is Francis Crawford's. However, when the Queen Dowager opens the door to the room where Sybilla is waiting, we finally have the benefit of Lymond's point of view. He stands looking beyond the open door into what appears to be an empty room, expecting nothing as he has come to expect nothing. Then, with the first whiff of Sybilla's perfume and soft rustle of her gown, memories of his mother come flooding in moments before she appears and opens her arms to gather him in.



Favorite Line
“That,” said Henry Lauder, closing his spectacles and throwing his pen in the wastepaper basket, “is a brain. If I were ten years younger and a lassie, I’d woo him myself.”
Questions
  1. What do you think of Sybilla's decision to show Andrew Hunter mercy by letting him escape given that he caused her grandchild's death, tried to murder Richard, and framed Lymond at every turn? Is she too generous?
  2. What dark secret or at least rumor about Eloise do you think Lymond is trying to hide? Do we have any hints?
  3. Mary of Guise asks Lymond if he is with her, and he replies that he thinks so. Then he says, "There is a divine solution..." What do you think Lymond means by "a divine solution"?
  4. If he were not driven to clear his family name, do you think Lymond would have bothered to return to Scotland to try to restore his own reputation? He could have easily lived out his life abroad and not have suffered the way he does by returning.
  5. Why would Dunnett wait until the very end of the book to show us, however briefly, a scene from Lymond's perspective?
  6. How do you think Lymond feels at the very end when he is exonerated and he sees his mother? 
  7. Do you think Lymond believes what he did was worth the cost, in particular, the deaths of Turkey Mat, Sym, and, most importantly, Christian?
Words that Describe Lymond in Baring
  • determined
  • sardonic
  • resigned
  • exhausted
  • passionate
  • controlled
  • insightful
  • logical
  • eloquent
  • witty
  • surprised
  • relieved
  • grateful
  • happy?


Friday, April 24, 2015

Part Four. The End Game. Chapter I. Twice Taken. 1. Forced Play Against Time

Ruins of the Lymond Convent
June 1, 1548
Lymond's band is dissolved with his customary heavy handedness when it comes to this group of rogues and misfits. Realizing they will not be happy about the slaying of the golden goose, the Master has Turkey Mat hide most of the men's pay as an inducement to accept the inevitable. And, of course, Lymond is correct when he says the men could not make him stay if they tried. There is a reason beyond his title they call him "Master."

Will is unhappy on multiple fronts. He wants the band to become his, but he is smart enough to realize that is not going to happen. The dissolution means it is time for Lymond to travel to England to meet Samuel Harvey on June 2, that is, time for Will Scott to act. He has been watching messengers come and go at the Ostrich Inn for some time and knew beforehand the end of the band was nigh.

It is interesting that Lymond trusted Will to hide the gold that is the pay of the men "with special claims"--and that Lymond himself does not know where the gold is hidden. Furthermore, Lymond does not guess that Will has hidden the gold in the convent where his sister died until they have already passed it. This seems unlike Lymond, who is almost always several steps ahead of everyone, especially Will Scott. Has he actually come to trust Will? I don't think so. Has he dropped his guard? So it seems, but the question then is why? Why is he so distracted?

Lymond is in no doubt whatsoever that Will has betrayed him (and Turkey) to Andrew Hunter. Did Will figure Turkey Mat's life into his bargain with death? Will seems willing to die himself if need be, and Lymond sounds as though he means it when he says "if I were alone I'd say throw and be damned." But at the last moment, Lymond takes the offensive when Will's eyes are momentarily diverted to follow the sword that Lymond throws across the floor. And the Master would have subdued his well-trained pupil had Will not hidden a small knife on his person.

What is Will's motive for the betrayal? He tells himself repeatedly, even obsessively, it is because Lymond is a cold, calculating killer, a murderer of "girls": "Kill girls! He could kill girls..." Will seems to have a morbid fascination with Lymond's relationship with females: Christian is a "girl" Lymond has used and abused. Mariotta he mercilessly bullied and killed her child. Eloise is the sister he murdered and even now seems to feel nothing for. Even Margaret Douglas has been treated crudely and cruelly by the Master. However, I believe Lymond's analysis of Will's motives is far more incisive and does in fact lay out a true one: revenge.
"...revenge ... for every doubt and indignity and misery that Scott had suffered [at Lymond's hands]."
It is also important to remember that Will still believes Lymond is planning to sell him to the English, which is also a powerful motive for betraying the Master.

*** 
"heartsease quailed under their hoofs..."
Will does not know until Lymond is brought out of the ruins if he has killed his former leader or merely wounded him. The injury to Lymond's shoulder is not serious enough to shut Lymond's irreverent, sardonic mouth.

The contrast between Will and Lymond is stark: both are dirty and injured and disheveled, but Lymond retains his cat-like cool while Scott's every emotion plays out on his face.

I would be remiss if I did not call attention to the beautiful, expressive language of this section's penultimate paragraph, which describes the countryside and the convent, "wearing the nimbus of its injuries like a coronal," as Hunter's men take the injured Lymond and Turkey Mat away.

***
In the last chapter we found out that Lymond had been substituting his messages for Will Scott's, thanks to Sybilla's intervention. However, Will has managed to communicate on his own with Hunter (probably using the Ostrich Inn), as Sybilla learns at the convent. She sends Johnny Bullo to warn Lymond, but he is too late. Remember, however, that she has the presence of mind to tell the Ballaggan messenger to suggest Hunter take his captive to Threave castle, the home of Agnes Herries and John Maxwell, now Lord Herries. These are people who will definitely be sympathetic to Lymond and may even try to help him.

Asmodeus depicted as a goat ridden
by a witch holding her familiar (the cat)
Lymond's painful silence on the ride to Threave is broken when Dandy Hunter says something. But what does he say that sparks the reply from Lymond about not being Asmodeus, the king of the demons, most especially the demon of lust and the destroyer of marriages? Dunnett does not tell us; perhaps Hunter says something to Lymond like, "Well, the least you could do is to apologize for your horrid behavior." Doesn't that sound like something Dandy would say?

Hunter understands Lymond's classical reference, which explains why his face goes from red (angry) to white (guilty). The color drains out of his face because Lymond is implying something extremely ugly about Hunter's relationship with Mariotta. But Dandy is cool enough not to rise to Lymond's provocation. Immediately after this Lymond throws Mariotta's name out to Hunter. Once again, Lymond shows he knows there has been a relationship of some sort between Dandy and Mariotta.

Will Scott also blurts out another of his reasons for betraying the Master, that is, his conviction that Lymond was about to betray him to the English if Will didn't betray him to the Scots first. Before Lymond can reply, Turkey Mat foolishly and tragically seizes this moment to escape.

Hunter's men enjoy the chase and the kill, and Dandy is hardly bothered at all that a man is dead. He apologizes for Turkey's death to Will, not to Lymond, because he holds the Master in complete contempt. Turkey wants to know from Lymond if Scott prevented his escape, but Lymond tells him that he chose not to take the opportunity Mat gave him to break free. Turkey Mat's death is so pointless and sad it is easy to imagine how this wounds Lymond. I do not think it is giving anything away to say it will not be the last death for which he blames himself. At least Turkey dies with a "pleased look, as if a sunny beach and a flat board and a pair of celestial dice had manifested themselves among the leaves." He comes across as a man who lived his life at full tilt and died without regrets.

***
Threave Castle
Dunnett's ominous description of Threave is shockingly visceral, comparing the
stench of violence there with the powerful, feral odors of frightened, angry animals. Scott is relieved John Maxwell is away and that he and Hunter will have Lymond as their prisoner to humiliate and torment until Buccleuch arrives. However, Lymond has other plans, and quickly gets the hostile crowd on his side using his own brand of irreverent humor and wit, which is, "like Cupid, a notorious locksmith." Lymond's plan to disarm the crowd ends abruptly after ten minutes, and he goes mute. But why? We are left to wonder for now.

Peine Forte et Dure Torture
The easy laughter and enjoyment of their prisoner quickly turns very ugly in the face of his silence, leading to the horrendous scene of torture using the application of increasingly heavy weights. Dunnett describes Lymond as "capriciously vain" but not foolish, meaning he would bear the pain as long as he could but he would not purposely risk his life. At this point Will almost misses the flickering of Lymond's lashes as he briefly looks upward beyond the crowd. Will does the same, and there he sees Christian.

Now everything happens in a whirlwind. Buccleuch and his men arrive, Christian and Sym push through the crowd to confront him about his "whelp's" behavior, Christian forces her way to Lymond while Sym removes the chains weighing the Master down, and Christian confesses she knew who Lymond was all along: "I've known your voice since I was twelve." What an impression it must have made on the lass!

The yard erupts in the kind of ribald laughter Lymond has desperately tried to prevent to avoid tainting Christian by any association with him. He tries again, desperately, to dissociate himself from Christian by mocking red-headed women. By now, the captain and the crowd know their sport has ended, and Lymond is released to be taken to a "fine, dry cellar" of a prison. Before he can move from the place of his torment, and to Will Scott's surprise, Lymond faints. The way Lymond cups his face in a "gesture of half-comic resignation" shows he is in control until the last possible moment before his strength gives out, but even he has his physical limits, and this situation is too much for him.
***
Will Scott cannot make up his mind what side he wants to be on, much to the fury of his father, who never takes much to provoke him anyway. Buccleuch's solution is to stick his son in the cellar with Lymond, a rather neat punishment and one Will deserves after his betrayal. Will fights every step of the way to his prison because, as Dunnett says with her usual wit and understatement:
There is nothing very jolly about being locked in a cellar with a man whom, in every possible sense, you have just stabbed in the back.
Andrea della Robbia: The Announcing Angel
With his "very thews melted with apprehension," Will discovers Lymond at his ease, stretched out like a cat, "impeccably neat" (as always), with all that was unsightly removed from his appearance. Furthermore, his face was that of a "Della Robbia angel," something to store in the back of your mind for future reference.

And now...now Will Scott is about to have the very large and horny scales drop from his eyes in ways he never imagined or suspected. Now that all his plans have been thwarted and there is no longer any way for him to get to Samuel Harvey, Lymond at last clues Will in on what has been going on. The fact that he did not trust Will with this information before now is a measure both of Lymond's general lack of trust in others and his specific lack of trust in Will Scott, which the day's events appear to justify. You could make the case that Lymond might have avoided this fate if he had shared the truth with Will, but the Master is a great judge of character, and his judgment is that Scott is too emotional, too conflicted, too immature, and too unpredictable to be trusted with the truth.

Certainly, Will's sketch of Lymond's character in this scene supports this conclusion. What claims does Scott make?
  • His father would have protected Turkey Mat.
  • Lymond "hates women" in general.
  • Lymond wrecked the lives of four women (Christian, Margaret, Mariotta, and Eloise).
  • Lymond has hunted "poor Harvey" like a thing from beyond the grave.
  • Lymond betrayed his country by selling the letters Will copied to the English.
Of course, not one of these claims contains an iota of truth, a fact that we observe as it slowly works its way into Will's consciousness. We learn, for example, that Lymond orchestrated Will's "escape" from the tower with Mariotta:
"I leave you to work out why, having seduced my sister-in-law and slaughtered my nephew, I should keep coy silence while you shuffle downstairs at three in the morning with that bantling-brained romantic done up in an oatsack."
Oops. One can only vaguely imagine how Will Scott feels by the end of this encounter, but surely even Will would agree that Lymond's description of him fits all too well:
"You pathetic, maladroit nincompoop, you're never right; but this time you can squat in your misconceptions like duck's meat in a ditch, and let them choke you."
Near the end of the section, Lymond refers to the earlier moment when, as they are leaving the Ostrich Inn after a night of madcap and riotous activity, he encourages Will to look up at the "teaching stars, beyond worship and commonplace tongues. The infinite eyes of innocence." (Pt 2, Ch I) Will was deaf to Lymond's offering that first time. Has he heard him now? Will he understand what he is being offered? Has he had a moment of epiphany and learned something about himself and, more importantly, about Lymond?

*** 
Aside: Once again, I recommend Laura Caine Ramsey's guide to The Game of Kings when reading the exchange between Lymond and Will, which is packed with allusions ranging from the Malleus Maleficarum to Norse mythology.

***
The Night of June 1, 1548

John Maxwell is a clever man. He cannot lift a finger to help Lymond and must be seen to be on Hunter and Buccleuch's side; hence the congratulatory note on Lymond's capture. Enter the redoubtable Agnes Herries, sent by her husband, "as was fitting," to see to the guests. All the guests. Watch how Agnes manipulates these men like a pro. First, she storms in at eleven at night, waking Buccleuch and demanding an explanation for Will's incarceration with the "desperate man" in the cellar. As only Agnes can, she argues and contradicts and harangues until Wat Scott gives up and agrees to let his son out of the cellar. Will is more than willing to oblige, but he does not do so quickly enough for Agnes when he sees that all his father's men have been replaced with Maxwell's. Agnes will have none of his loitering and sends him to bed with a "vigorous impatience" and a loud thud of the trap door banging shut. What the heck just happened?

***
Now we know: Agnes not only leaves the trap door unbolted, she has the utter gall to scold Will for being the one who failed to lock Lymond back in! Will cannot contradict the lady of the house, whose own men will confirm her story (of course). Furthermore, Will's father accepts Agnes Herries' version without question in part because he believes his son wanted Lymond to escape and in part because he cannot imagine Agnes would let a desperate rogue out of his prison in her own house and then lie about it. All Will can do is quietly accept the censure and try to find Lymond.

Agnes once again proves her mettle. Atta girl, Agnes!

***
June 2, 1548

At last, Sybilla and Mariotta talk to each other. It has been a long time coming and the Dowager Lady Culter is loathe to broach the subject of her son's marriage to Mariotta, but the anxiety of waiting without a word about Lymond's fate pushes Sybilla over the edge. She has clearly been wanting to say these things to her daughter-in-law and this seems like as good a time as any. At least it will divert them both!

I find it fascinating that Sybilla uses Janet and Buccleuch as an example of a marriage that works, but it makes sense. First, Mariotta knows them both well and has had ample opportunity to see Janet in action with a man far more stubborn and dense and far less sensitive and caring than Richard. Surely if Janet can manage to have so much influence on Wat Scott and "manage" him so fluently, Mariotta's task with Richard should be far easier. 

The other example--the Maxwells--shows Mariotta the opposite extreme from Janet and Wat. Janet is anything but a romantic, whereas Agnes created a fantasy that John Maxwell played into, with Lymond's help. But both Agnes and Janet share something in common: both are intensely interested in their husbands and understand what each man values and wants the most. This, Sybilla makes clear to Mariotta, is what she has not done. She really has taken little interest in Richard, has learned little of the man she married, and really does not understand what he values and wants and needs. Fortunately, Richard's mother is wise enough to tell Mariotta just enough to help her without telling her so much that she makes Mariotta want to give up.

What Sybilla says about Lymond and Richard's relationship is very, very telling:
"Your tragedy was that the man you became involved with was the very person who created the flaw in Richard's maturing. And if that was anyone's fault, it was probably mine..."
How revealing. And, at the same time, how unrevealing. There is a flaw in Richard that has hindered his growing up and Lymond was the cause. Mother (possibly) blames herself. That's all we know from what Sybilla says--not what Richard's flaw is; not what Lymond did to create it; not what Sybilla did or did not do to instigate the sibling rivalry, if that is what this is. All things to ponder and keep in mind as the future unfolds.

When Christian finally arrives at Midculter, Tom Erskine is there and about to have the shock of his life. We already know that Christian recognized Lymond from their first encounter at Boghall; now we find out that both Sybilla and Christian have been working--separately, it appears--to help Lymond. Sybilla worked out fairly early on that Christian recognized Lymond and was helping him. The "keenest ears in Scotland" belong to Christian, who was present when Lymond appeared at Monteith as the monk and told little Queen Mary the riddle, which was one invented by none other than Sybilla. Also, let us not forget that Sybilla has had contact with her younger son through intermediaries, so she most likely knew about Christian's assistance through those sources.

One of those means, in addition to Sybilla's "normal thought processes," would be Johnnie Bullo, with whom Sybilla expresses disappointment for turning out to be "rather much of an individualist," but she does not elaborate. One thing we definitely know about Johnnie is his propensity to gossip, which leaves little doubt he would have enjoyed telling Lymond's mother about what happened between her son and Christian at Boghall.

And then there is Samuel Harvey, a name mentioned not only by Christian but also by Richard and Andrew Hunter, tying all three of them to Lymond in different ways. Christian does not know the whole story of Harvey, but she knows George Douglas is involved somehow, so she is determined to see him and, "by persuasion and threats," make him help Lymond. Hmmm. How well does she know friend George? Not well, if she thinks either persuasion or threats will move him to help. George will require something that appeals to his self interest.

Tom is not so easily swayed, viewing Sybilla's attempts to help Lymond as natural maternal instinct. But Christian's behavior has him flummoxed. Why would she knowingly help this outlaw? It is left to Sybilla to explain the inexplicable to Tom, that is, Christian's own natural instincts to help a "lame duck" and right an injustice are just as strong as her maternal leanings. Sybilla points out what Tom already knows: Christian is neither someone easily gainsaid nor someone easily beguiled. Furthermore, Lymond is, according to Sybilla, an "artist in the vivesection [sic] of the soul" because he has been the one under the knife for the past five years.

Sybilla leaves Tom and Mariotta (and us) with the puzzling comment that Lymond is "probably the only person in the world now who can restore Richard to any sort of terms with his own future" and send Richard back to Mariotta. The latter claim is easily understandable because Lymond can convince Richard as no one else can of his, Lymond's, total indifference towards Mariotta. But just how Lymond can restore Richard to his future remains a mystery to be revealed.

***
Sunday, June 3

This is the day after Lymond was to meet Samuel Harvey in Wark. He arrives at Wark Castle too late. Harvey, a busy man, is gone. Gideon Somerville initially thinks Lymond's tardiness is an indication that he did not really care about the meeting and, worse, that Lymond is drunk, when in fact, he is exhausted from traveling at a breakneck speed on foot from Threave carrying with him all his injuries. Once Gideon realizes Lymond's true state, he immediately puts him to bed in good, practical Somerville fashion.

June 4
The next morning Lymond is in a far better and cleaner state and spouting all manner of obscure quotations, much to Gideon's annoyance, which leads to one of Dunnett's most cited and beloved lines:
"I wish to God," said Gideon with mild exasperation, "that you'd talk--just once--in prose like other people."
And then, amazingly, Gideon gets his wish after one more "malicious" quotation from Roger Ascham, a noted Protestant, which leads to Lymond's comment about Luther, whose views were not surprisingly deemed heretical by the Scottish Parliament. Now Gideon and Lymond have a serious, straightforward (by Lymond's standards) conversation about the potential benefits of an alliance between Scotland and England. Probably the clearest explanation of these events comes from Dunnett herself early in the book:
Henry, new King of France, ... felt his way thoughtfully towards a small cabal between himself, the Venetians and the Pope, and wondered how to induce Charles [the Holy Roman Emperor] to give up Savoy [in the Western Alps and strategically important to France as a gateway to Italy], how to evict England from Boulogne, and how best to serve his close friend and dear relative Scotland without throwing England into the arms or the lap of the [Holy Roman] Empire. (Opening Gambit)
Here's the situation in brief. The English control Boulogne in northern France just south of Calais, which is also under English control. The French want it back. Earlier in the book, Buccleuch says there is a rumor that the French and English will "promise neutrality" towards Scotland if the English agree to give up Boulogne (Pt 2, Ch 1). Now Lymond opines that France might sell out Scotland in return for the English surrender of Boulogne, even though he does not think so.

As an Englishman, Gideon is worried because Scotland keeps getting outside help from "the dregs of Europe" and attacking England by injecting these foreign fighters "into our backside." Worse, the Scottish ambassador to France, David Panter, is working for a separate peace between Scotland and the Holy Roman Emperor, something neither England nor France would like. Meanwhile behind Scotland's back, France is trying for its own separate peace with England.

Lymond points out to Gideon one of the major stumbling blocks for any peace between their two countries, that is, under Henry VIII Scotland suffered terribly and that suffering has bred a deep hatred of the English by the Scots. Nonetheless, the Scots Commissioners keep reopening talks for a marriage between England's boy king Edward and little Queen Mary whenever the country feels threatened.

The Queen Dowager of Scotland is plotting to keep the Scottish Governor Arran quiet by promising to marry her daughter Queen Mary to his son while she is simultaneously planning to bring more French into Scotland. But Lymond argues that the French are stretched too thin to effectively rule Scotland, so Scotland would be better off under France, which is separated by distance and rough waters, than under England, with which it shares a very porous border.

Edward VI of England
by William Scrots, c 1550
Lymond also alludes to the dangers of religious warfare, "the bloodiest emotion" he knows, the ultimate in the "honest emotion" of hatred that Henry VIII so effectively showed to the Scots and which they reciprocated. Despite his claim to the contrary, Lymond does offer Gideon a solution: let little Queen Mary leave Scotland and grow up in France, where there is no religious conflict; let Mary of Guise have the power in Scotland and "keep the throne warm" for her daughter; go ahead and arrange the marriage between England's Edward and Mary of Scotland so that, if both sides behave themselves, the contract will be honored when the children come of age. 

Sadly, Gideon acknowledges that this "intelligent" approach is not going to happen because the Protector's own position is "shaky" and he cannot afford to do anything to undermine his tenuous hold on power, which Lymond's plan would.

But Gideon is impressed, very impressed, by Lymond's clear, unemotional, logical understanding of the situation, which makes him curious why Lymond is not providing these insights to "his people" in Edinburgh. Gideon has figured out that the "one woman" who has caused and continues to cause Lymond trouble is Margaret Douglas. This was not hard for Somerville to discern given his interesting encounter with the Countess of Lennox in London in April (Pt 3, Ch IV). Unfortunately, injecting Margaret into the conversation causes the "barrier of nationality" to fall between them and the "shutters" that had momentarily opened close again.

Now for the interesting part: Gideon will arrange another meeting for Lymond with Samuel Harvey on his way back from Haddington. But until then, Gideon has to find a safe place for Lymond, and the only place he believes will ensure Lymond's security is the Somerville home at Flaw Valleys. Lymond experiences what is for him a very rare emotion: he is taken aback and completely perplexed by Gideon's plan. He "should dearly like to know why" Somerville not only trusts him enough to arrange another meeting with Harvey but also has enough faith in him to leave him alone with his wife and daughter in their own home.

Gideon understands his rationale no better than Lymond: it is "something that Gideon did not even know clearly himself." It seems that Lymond is not the only person who is a fine judge of character and an excellent reader of men.

Questions
  1. Why does Lymond say everyone finds Dandy Hunter "irresistible"?
  2. What do you think Hunter says to Lymond to provoke his response about Asmodeus?
  3. According to Dunnett, Will Scott knows very well why Turkey Mat bolted. Why did he?
  4. What did Johnnie Bullo do that disappointed Sybilla by showing he was "rather much of an individualist"?
  5. What is the "flaw" Lymond created in Richard?
  6. Why does Gideon Somerville decide on what seems to be the spur of the moment to trust Lymond enough to allow him to wait at Flaw Valleys for the meeting with Harvey?
Favorite Line
"I wish to God," said Gideon with mild exasperation, "that you'd talk--just once--in prose like other people."
Words that Describe Lymond in Forced Play Against Time
  • preoccupied
  • really furious (with Will)
  • surprised
  • sardonic
  • deeply saddened
  • disgusted
  • disappointed
  • exhausted
  • worried
  • resigned
  • perplexed
  • snide
  • guilty
  • passionate
  • dispassionate

Sunday, February 1, 2015

Part Three. The Play for Samuel Harvey. Chapter III. Mate for the Master.

Lymond and four women: Molly, Mariotta, Agnes, and Christian. Notice how he treats each of them very differently. 

1. A Bereft Knight Is Checked by His Own Side (about March 8, 1548)*
*Richard has been "seventeen days in the field." The battle with the English took place on February 21 and 1548 was a Leap Year. This may not be the exact date wrong, but it's close.
Sybilla and Christian are still with the sulky, convalescent Queen at Dumbarton when Richard finally arrives there looking to apologize to Mariotta. Sybilla is more anxious and vulnerable than we have seen her before. She knows things that Richard does not and it falls to her to deliver some very unpleasant pieces of news and point out the potential consequences of his further obsessive pursuit of Lymond.

Richard has not thought through the implications of his bringing his brother "to heel." It has not occurred to him, as it has to his mother, that his "unreasonable hatred" of Lymond brought to full blossom in Lymond's destruction will "convict Mariotta publicly of deceit." I am reminded of George Eliot's Middlemarch, when Casaubon stipulates in his will that Dorothea will lose her inheritance if she marries his cousin Ladislaw. What does this do but "publicly convict" the blameless Dorothea of an improper and dishonorable relationship with her husband's cousin? Sybilla is pointing out that this is what would happen to Mariotta as well: it would confirm in the public mind that there is an illicit relationship between her and Lymond where none in fact exists.

Sybilla now exhibits one of her few errors in reading others, an error Christian instantly detects: Sybilla offers to have Mariotta found, removed from Lymond's sphere of influence, and returned to Midculter. What she does not count on is the depth of Richard's anger, the strength of his pride, and the extent of his long-smoldering resentment of Lymond. Lymond, the irrepressible, infallible little brother with "success at the end of each of his pretty fingers" always got and still gets the love of all of Richard's women, including, most importantly, his mother.

Richard even goes so far as to claim that Lymond murdered their sister. Remember, Lymond said to Christian back at Boghall (Pt 1, Ch VII, Part 2), "If I told you that I had murdered my own sister..." First we have Lymond positing that he might have murdered his sister and now we have Richard claiming he did. This terrible scene is mercifully interrupted by two pages announcing the Queen Dowager wants to see Richard right away.


When Christian moves to comfort Sybilla after Richard leaves, the Dowager is described as having "pretty fingers" just like Lymond's. Hands are very important to Dunnett, who had a painter's eye for such details.


Mary of Guise looking none too
pleased with Richard
Richard is so thoroughly consumed with his own hurt and outrage he flouts the Queen Dowager's command that he go to Edinburgh to buck up that wobbly frog with his wits in his belly (Arran), which is all the pretext Buccleuch needs to suggest Richard be locked up. It is interesting that we do not see this remarkable scene between Mary of Guise and Richard Crawford, but instead hear it told by the always colorful Wat Scott, which greatly enhances the humor in an otherwise very tense and unhappy situation.

The question remains: why did Buccleuch want Richard out of commission at this time? Wat and Richard just recently had a huge, friendship-ending dispute when Crawford and his men showed up at Buccleuch's rendezvous with Will. Wat is not above exacting his revenge, but he also does not want Richard's obsession with Lymond once again to threaten his son and family. He sees this as a nice cooling off period for Lord Culter.

This presents Sybilla the perfect opportunity to ride south, with the Queen Dowager's permission, of course. Where and why she is going we do not yet know.

***
Meanwhile...Gideon Somerville cannot get out from under the thumb of his English overlords. This time Lord Grey wants Gideon to travel with him to London to see the Lord Protector. In the meantime, Grey has ordered the border lords to continue to harry the Scots and keep them from retaking the forts now in English hands.

***
Molly, looking as if she has been
attending decumbitures all her life.
Lymond at last returns to the Tower at Crawfordmuir to discover what "all of Scotland" already knows about Mariotta. He missed the entire drama of her arrival, subsequent miscarriage, the surgeon's visit, and Molly's nursing. Molly again proves her value as one of Lymond's spies. She tells him that Will Scott met with Andrew Hunter at the Ostrich when he came to retrieve her to attend Mariotta. Hunter stayed at the Ostrich a week "for no very good reason" and asked a lot of odd questions. Molly gives Lymond an account of Dandy and Will's conversation but, alas, we are not privy to it. All we know is that Molly believes Hunter is potentially a problem for Lymond and, thus far, Molly has never been a problem for Lymond.

***
Isn't it interesting that Lymond waits a week at the Tower before seeing Mariotta? In part it is because Mariotta is still weak and ill, but the wait only helps embellish his aura of mystery and power in Mariotta's mind. She has created a fantasy like a glowing halo around Lymond, a man she has seen exactly once. When he finally comes to her, his appearance is not as she remembers: this time he is tidy and sober. Mariotta is surprised when Lymond tells her he is sorry to learn she lost the baby, undoubtedly because in her fantasy he wants her for himself and no heir for Richard. Then she surprises Lymond by telling him she left Richard. When she tries to explain why, she finds it very difficult, except for the issue of the jewels.

But Lymond will not be put off: he wants to know exactly what Mariotta and Richard quarreled about. Although we do not hear Mariotta's recital of grievances, we can easily imagine that they are not nearly as terrible once told as they were in her imagination. They are, to use Dunnett's own characterization, an exercise in naivete from beginning to end. Lymond's words and reaction are contrasted to Mariotta's: as he speaks, his eyes are seraphic and "supremely adult." Lymond even tries to show Mariotta that he has given Richard cause to hate him and to hunt him down, such as the fire at Midculter, which she has conveniently forgotten. Add to this the jewels Mariotta told Richard came from Lymond and her own blatant infatuation with his younger brother and you have a big enough stew pot of jealousy and resentment to drive any man into a rage.

Now that he has heard her tale and knows how things lie, Lymond changes his tone and tactics with Mariotta. He assumes the cold, brutal persona of a man interested only in revenge on his brother and taking what is his, by getting rid of the heir and giving Richard grounds for divorcing Mariotta. In short, Lymond paints for Mariotta the exact picture that is in Richard's mind all the while insulting her (her brain is smaller than a chick-pea). Of course, Lymond's icy recitation of his complaints against Richard evokes from Mariotta a remarkable about-face--a wounded defense of her husband--to which Lymond responds as only he could.

He, like Christian earlier in the chapter, refers to Richard's deep interest in the welfare of his pigs: "I thought we would be shikk to shikk, indivisible, like Richard and his piglets." This makes me laugh out loud it's so funny. I can't help thinking Dunnett had "dancing cheek to cheek" in mind when she wrote this sentence. Mariotta, however, finds nothing humorous about this or anything Lymond has to say. All her pretty fantasies are dashed to bits in this one terrible interview. Which is exactly what Lymond wants to achieve.
***

Shikk are demons mentioned in the Arabian Nights that are half a human being, divided "longitudinally" (vertically), so when Lymond describes Richard and his piglets as "shikk to shikk," he conjures up an image of a creature that is half man and half pig.


***
Why Lymond's about-face with Mariotta? He starts off as Good Lymond, with care and concern, talking to her like a normal human being. Once he has heard her tale of grievances, he instantly turns into Bad Lymond: cold, calculating, cruel, vicious. Why? Because he wants Mariotta to stop viewing him as if through a hagioscope, that is, with a squinting, narrow, distorted view. He wants Mariotta to see he is not some dashing hero come to her rescue. She needs to know in no uncertain terms he has zero interest in her except as a means of hurting Richard and that his bad reputation is well deserved.

Before jumping to the conclusion that Lymond means Mariotta ill, it is best to recall he exchanged his truly valuable prisoner--Margaret Douglas--for Mariotta, who has no value to him as a hostage whatsoever, and he initiated the exchange without hesitation.

The soft-hearted Molly, of course, scolds Lymond for his performance for Mariotta. Molly, taking literally Lymond's suggestion that Mariotta would fare better sharing her grievances with Will Scott, sends Will up to sit with Mariotta that night. It's the last anyone at the Tower sees of them both, and Lymond is none too pleased that Will has taken off with his sister-in-law. At least that is how he behaves, but Molly, remember, has never caused him any problems, so one is left to wonder if this isn't another Lymond ploy.

***
Argyll pipers do get around, don't they? Remember it was an Argyll piper who played so memorably at the Ostrich when Lymond plotted with John Maxwell (Pt 2, Ch 1) Now Hunter has a "chance encounter" with him? Not likely in Dunnettdom, I'll wager. We also learn what Molly's girls overheard: Will and Hunter exchanging views on whether and how Lymond might be selling Will out to the English. Will expressed his suspicions and Dandy offered what he knows, that is, Grey wants Will, and Lymond has been seen twice near George Douglas's house.

All this Dandy is helpfully relating to Wat and Janet Scott. Now notice: Janet interjects that Dandy did not know Lymond has (or had) Mariotta. How does Janet know this? Obviously, she has been talking to Dandy before this conversation with her husband, but the circumstances of Janet and Dandy's discussion are a mystery. One thing is clear: Janet's scheming goes on. Buccleuch misses this point altogether and is just glad that Hunter is so kindly offering to help him recover his son.

***
Spring, 1548

The gateway to Holyrood, built
by James IV, 1503
The wedding of John (Jack) Maxwell and Agnes Herries, orchestrated with such care by Lymond finally takes place at Holyrood Palace, and Lymond is there to offer his congratulations and a gift.

Maxwell knows his new wife well: he introduces Lymond not by name, which he must not, but as the man who saved his life at Durisdeer. Ah, ha! Now we know a bit more about that memorable action Lymond undertook at Durisdeer, saving Maxwell from Harry Wharton's sword. What could be a more thrilling wedding gift to Agnes than to meet another real-life knight in shining armor? Maybe a brooch set with angels' heads and worth a fortune? Probably not. She has wed the hero of her dreams and met another even more dashing, mysterious hero bearing costly gifts. Quite a nice start to a marriage for a little girl with a face like melted candle wax full of teeth!

Lymond adds another feminine conquest to his supposedly long list of adoring women (according to Richard).

The brooch. In Pt 1, Ch 4, Dandy Hunter presents his mother with an hugely expensive and garish brooch with diamonds set in angels' heads and carved in onyx. This brooch certainly seems to be the same one: diamonds, angels' heads, and onyx. File this for future reference.

***

I recommend Laura Caine Ramsey's guide to The Game of Kings when reading the exchange between Lymond and Christian, which is packed with allusions ranging from the Old Testament to one of the first English comedies.

***

Christian is also at Holyrood for the wedding and has answered a summons she supposes is from Tom, who is expecting an answer regarding his offer of marriage. But it is Lymond, not Tom, who has arranged this meeting. Her reaction when she hears Lymond's voice tells us that she remains in a state of emotional and spiritual turmoil over him. Their playful verbal combat continues apace, each using a rapier wit and each in turn deflecting the other's rhetorical thrusts.

We learn that Christian knows the names of the three men Lymond has been seeking, presumably from Sybilla but possibly from other sources. She did not offer them up in the gypsy tent when she brought Lymond the news about Crouch's whereabouts, so she may have uncovered the other two names later. She is uncommonly well informed. Notice that she instantly figured out that George Douglas is Lymond's convenient intermediary in securing Samuel Harvey.

Epaminondas clutching the
javelin to his breast
Christian makes an interesting comparison between Lymond and Epaminondas, the Theban general who, according to legend, was wounded by a spear in battle. He clutched the point of the spear to his chest long enough to learn of the Theban victory against the Spartans, knowing that when the spear was removed he would die. Christian suggests that Lymond may be in part responsible for his troubles by clutching his problems to his "evil chest" like a javelin tip, but he succinctly rejects the idea that his affairs would be any better if he did not. I think this is an important insight into Lymond's character: he believes he must clutch his troubles to his evil chest and suffer the consequences. He is not being completely facetious when he tells Christian that he has been "gifted with a surfeit of Satanity," that is, he is inherently evil.

There is an abrupt shift in Lymond's tone when he addresses Christian by her name and warns that his plans may or may not turn out well. And now, here it is: the farewell. Lymond tells Christian in a way she will understand without having it spelled out for her that there is no future for them as anything but acquaintances, and that, only if all his plans go well:
"Whatever you touch will return warmth to you and whoever you share it with will be twelve feet tall like St. Christopher."
In short, Lymond is telling Christian she will not be sharing her warmth and her life with him.

Even though he hopes Christian will not regard him as insensitive, Lymond thinks it is important to state the obvious: if Christian had not been blind, she would never have had this adventure with him. Her reaction is very interesting: this experience, quite apart from making her more tolerant of her blindness has turned the years of quiet, desperate acceptance into a rage against the darkness. It has made her acutely aware of what she has missed. Of all men, only Lymond has shared the thrill of adventure with her, and then only because she could never see his face.

And now he is gone.

***
Sybilla is back, but from where? Richard has been released for the wedding festivities. Sybilla admits to Christian that she is frightened. Then she adds, "My sons sometimes seem so much stronger than I am." This is an interesting juxtaposition of thoughts. I think Sybilla is frightened by her sons' strength in part because it means she cannot influence them as she has hoped and in part because of the inherent danger in two strong men violently opposing each other. Neither will yield.

Is it also possible that Sybilla is sending Christian a subtle message about Lymond with that comment? Lymond is strong enough to walk away from "a woman ... with a familiar spirit," someone rare enough to be his match and possibly a mate for the master? I am not sure, but what we do know is that immediately after this scene, Christian accepts Tom's proposal. I think this meeting with Sybilla somehow finalizes Christian's decision to accept Tom.

Of course, Tom, as second son, is the Master of Erskine, just as John Maxwell is the Master of Maxwell. Lots of mates for Masters in this chapter.

***
Dunnett's description of Richard is another perfect example of why she is simply the best.
The third Baron Culter had the sort of pride that makes a man walk straight back to the place where he has been publicly undressed and dare the universe to look down on him.
We learn so much about Baron Culter's character from two sentences: his pride is strong enough to carry him right back into the lion's den looking all the while like an emperor instead of a victim. Just like Lymond. Dandy Hunter takes advantage of the situation by approaching the scandalized Richard and offering to broker a rapprochement between him and Buccleuch.

The deal is too tempting for Richard to refuse. Will knows Lymond is going to betray him and has sent Dandy a message saying he knows how it is to be done.

Once Richard and Wat Scott patch things up (sort of), they examine Will's message:
  • Lymond plans to ride east to an unspecified location.
  • At this location Lymond will secure Samuel Harvey from George Douglas and Lord Grey.
  • Once Lymond gets Harvey, he will send a message to Will to join him.*
  • When Will arrives, Grey will take him.
  • Will proposes in his letter that when he gets the message from Lymond he will notify his father.
  • Buccleuch, Culter, and their men will descend on the rendezvous spot and take Grey, Douglas, and Lymond.
  • Meanwhile, Will Scott will find his own way home.
*It is not at all clear how Lymond will get a message to Will unless he takes one of his own men or perhaps Johnnie Bullo with him. However, he cannot risk letting one of his men know he is betraying Will, and Will would never respond to a message delivered by a stranger. 
The discussion now turns to the hostages that Wharton killed after Maxwell turned on the English and joined the Scots at Durisdeer. This is one of the consequences Jack Maxwell was weighing (Pt. 2, Ch. III) when deciding whether to fight on the Scottish side. This was a particularly difficult discussion between Maxwell and Lymond. It was Lymond who laid out the choice brutally and succinctly: "Save the Carlisle chickens, and you let the Stirling stables burn." At Lymond's urging, Maxwell chose to fight with the Scots and thereby win Agnes Herries (and her title and property). The price was the lives of half his hostages. An ugly choice, but it is important to recognize that Lymond wanted Maxwell to make this choice and in so doing, he condemned a number of innocent men to death. Lymond can be ruthless.

Buccleuch has the right of it: "We're seeing times ... that crack the very marrowbone of tragedy."

In the final act of the chapter, Sybilla, playing the Foolish Mother, tries one more time to get Richard to see reason regarding Lymond and Mariotta. Now we know where she went when she left the castle. She went to the convent at Culter to see Mariotta. Richard, unconsciously aping Lymond's posture when Sybilla last saw him at Midculter, does not want Mariotta back, but it does not seem he has considered the possibility that neither does his wife want him any longer.

Poor Sybilla. One son a hunted and hated outlaw wanted for a capital crime. Another son bent on capturing and/or killing his brother. A marriage between son and daughter-in-law in collapse. The loss of her first grandchild. All the calm order of her life destroyed, with only more pain and suffering on the horizon.

Questions
  1. Why does Sybilla ask Christian to join her when she confronts Richard knowing he will detest airing family secrets in front of an outsider?
  2. Where did Lymond get the brooch he gives to Agnes as a wedding gift?
  3. Lymond encounters Molly, Mariotta, Christian, and Agnes in this chapter. Which important woman who appears in the chapter do we not see him with?
  4. Why does Lymond decide not to pursue a romantic relationship with Christian?
  5. By urging Maxwell to side with the Scots, Lymond directly contributes to the death of the hostages at Carlisle. Is Lymond simply heartless, as Maxwell suggests in an earlier chapter, or does he have other motives?
Favorite Line (one of the classic Lymond quotes)
"All I ask in this world," said Lymond a shade grimly, "is half an hour when I don't know what I'm doing; but no one has granted me the privilege yet."
Words that Describe Lymond in Mate for the Master
  • Cold
  • Cruel
  • Calculating
  • Unkind
  • Concerned
  • Solicitous
  • Sardonic
  • Sober
  • Inquisitive
  • Ruthless
  • Charming
  • Ingratiating
  • Self-deprecating
  • Playful
  • Serious
  • Sincere
  • Honest