Alright. You want me to take this… Wikipedia entry, and make it… more. More what? More me? More relevant? Fine. Don't expect sunshine and rainbows. This is about as much enthusiasm as you're going to get.
Let's dissect this. A poem. About a guy. Who fought the English. Riveting. The historical accuracy, or lack thereof, is almost charming. Almost.
The Opening Lines: A Glimpse into Discontent
The poem, The Wallace, or more formally, The Actes and Deidis of the Illustre and Vallyeant Campioun Schir William Wallace, opens with a lament. Not a mournful dirge, but a sharp, almost bitter observation.
Our antecessowris that we suld of reide, And hald in mynde thar nobille worthi deid, We lat ourslide throu verray sleuthfulnes, And castis us ever till uther besynes.
Translation: Our ancestors, whom we should read about, and hold in mind their noble, worthy deeds, we let slide through sheer laziness, and cast ourselves ever towards other business.
It’s a commentary on neglect, on how the present generation has a tendency to… drift. To prioritize trivialities over the significant. It sets a tone, doesn't it? A weary cynicism that I can, unfortunately, appreciate.
Then comes the jab at the English, a recurring theme, as if the poem itself is a perpetual scowl directed south.
Till honour ennymyis is our haile entent, It has beyne seyne in thir tymys bywent. Our ald ennemys cummyn of Saxonys blud, That nevyr yeit to Scotland wald do gud, But ever on fors and contrar haile thar will, Quhow gret kyndnes thar has beyne kyth thaim till.
Translation: To honor enemies is our sole intention. It has been seen in past times. That our old enemies, come of Saxon blood, have never yet done good to Scotland, but ever against their whole will, how great kindness has been shown to them.
A rather pointed observation on political expediency, wouldn't you say? Or perhaps just a deep-seated resentment. The poem suggests a history of Scottish generosity met with English perfidy. A narrative that, while possibly exaggerated, certainly resonates with a certain… historical undercurrent. It’s a declaration of perceived injustice, etched in verse.
The poem then pivots, acknowledging the divine intervention that ultimately thwarted English ambition:
It is weyle knawyne on mony divers syde, How they haff wrocht in to thar mychty pryde, To hald Scotland at undyr evermar, Bot God abuff has maid thar mycht to par.
Translation: It is well known on many different sides, how they have worked in their mighty pride, to hold Scotland under forever, but God above has made their might falter.
A bit of divine intervention. Always useful when human efforts fall short. And then, a return to the immediate subject, a reminder of the focus:
Yhit we suld thynk one our bearis befor, Of that parablys as now I say no mor. We reide of ane rycht famous of renowne, Of worthi blud that ryngis in this regioune, And hensfurth I will my proces hald, Of Wilyham Wallas yhe haf hard beyne tald.
Translation: Yet we should think on those before us, of that parable I say no more now. We read of one right famous of renown, of worthy blood that reigns in this region, and henceforth I will hold my discourse, of William Wallace you have heard told.
And so, the stage is set. A preamble of regret, resentment, and a grudging acknowledgment of higher powers, all leading to the central figure. William Wallace.
The Wallace: A Romantic Biography Disguised as History
The Actes and Deidis of the Illustre and Vallyeant Campioun Schir William Wallace (or The Wallace, for those who prefer brevity, which I do) is a rather substantial poem. Penned by the fifteenth-century Scottish makar known as Blind Harry, it’s likely this work coalesced into its final form sometime before 1488. The title itself is a declaration: it aims to celebrate the life and exploits of William Wallace, the Scottish freedom fighter who, by the time Blind Harry was writing, had become a legend, a figure from a century and a half past.
Now, let's be clear. This isn't a dry historical account. It's a "romantic biographical" poem. The distinction is crucial. It commemorates, it eulogises, it aims to inspire. But historically accurate? Absolutely not. The poem liberally sprinkles in events that, shall we say, never actually occurred. It’s a narrative woven with threads of fact and fancy, a tapestry where truth is often draped in embellishment.
And the impact? For centuries, this poem was second only to the Bible in popularity across Scotland. Imagine that. A story, perhaps more myth than meticulously researched history, held such sway. It speaks volumes about the need for heroes, for figures to rally around, especially in times of… national introspection.
The Elusive Author: Blind Harry
The authorship is attributed to "Hary" or, more famously, "Blind Hary." Beyond the name, however, concrete biographical details are scarce. It’s like trying to pin down a ghost. We have records of payments made by King James IV to someone named "Blind Hary" on five occasions between 1490 and 1492. The exact nature of these payments remains obscure. Were they for services rendered? A pension? A commission? The records are maddeningly vague.
Then there’s the mention by the poet William Dunbar in his Lament for the Makaris. Dunbar includes Hary in a list of deceased poets, a somber roll call of artistic talent lost. This places Hary firmly within the literary landscape of his time, but offers little in the way of personal insight.
The definitive attribution to Blind Hary as the author of The Wallace comes much later, from the Scots scholar John Mair in his 1521 work, Historia Majoris Britanniae. Mair, writing decades after the poem's likely composition, solidifies the connection. It’s like finding a signature on a painting years after it was finished – it confirms, but doesn't illuminate the artist's process.
The Earliest Text: A Fragmented Legacy
The earliest extant text we have is a copy made in 1488 by John Ramsay, 1st Lord Bothwell. This manuscript, however, is incomplete. It lacks a title page, and the final pages are missing. Crucially, it doesn't explicitly name Blind Harry as the author. This leaves a slight ambiguity, a sliver of doubt that Mair later sought to fill.
Publication and Adaptation: A Persistent Narrative
The poem's journey through print is a story in itself. After circulating in manuscript, the first known printed edition, though only fragments survive, was produced by Chepman and Myllar in the early sixteenth century. Robert Lekpreuik followed with a second edition in Edinburgh in 1570, and Henry Charteris published a third in 1594, also in Edinburgh. These early printed versions align remarkably with the Ramsay manuscript.
The seventeenth century appears to have been a quiet period for new editions. But the poem's influence didn't wane. The late 18th century saw a significant revival, with the poet William Hamilton producing a version translated into contemporary English. This adaptation proved immensely popular, going through over 20 editions, the last appearing in 1859.
More recently, the poem gained a new kind of notoriety. Screenwriter Randall Wallace used it as a source for his script for the 1995 film Braveheart. A testament to the enduring power of the narrative, even if the historical liberties taken by both the poem and the film are… considerable.
The Poem: Structure, Substance, and Sentiment
The Wallace is a substantial narrative, meticulously crafted in decasyllabic rhyming couplets. It purports to be a biography, tracing William Wallace's life from his boyhood through his pivotal role in the First War of Scottish Independence, culminating in his brutal execution in London in 1305.
While grounded in certain historical events, like the Battle of Stirling Bridge and the Battle of Falkirk, the poem frequently veers into fictional territory. Wallace is presented as the quintessential hero, a figure drawn from the tradition of chivalric romance. He is courage personified, fiercely patriotic, deeply devout, and impeccably chivalrous.
The narrative is peppered with scenes that enhance his heroic stature. There are instances where Wallace employs disguises to gather intelligence on his adversaries, a tactic that adds an element of cunning to his bravery. More dramatically, the poem recounts a scene where Wallace confronts and slays a wild beast, a lion no less. These episodes echo similar narratives found in other medieval British romances, particularly those featuring "outlaw" heroes such as Robin Hood and Hereward the Wake. These elements serve to elevate Wallace beyond a mere historical figure into a legendary champion.
The poem is often characterized as an "anti-English diatribe." The English are consistently portrayed as the implacable and natural adversaries of the Scots. This pervasive sentiment underscores the poem's function as a piece of nationalistic propaganda, designed to galvanize Scottish identity and animosity towards their southern neighbors.
The Author: A Shadowy Figure
The author, known as "Hary" or "Blind Hary," remains an enigma. The early texts bear these names, but the man himself is largely unknown. As mentioned, the payments from King James IV between 1490 and 1492 are our most concrete link, though their purpose is unclear.
William Dunbar's inclusion of Hary in his Lament for the Makaris suggests Hary was a recognized poet of his era, now mourned among the departed. John Mair later cemented his authorship in his 1521 Historia Majoris Britanniae. Mair's work is crucial in establishing Blind Hary as the creator of The Wallace, providing a historical anchor for the poem's attribution.
Date of Composition: A Late Fifteenth-Century Genesis
The Wallace is firmly placed in the latter half of the fifteenth century. The Ramsay Manuscript, dated 1488, is the earliest surviving copy. However, internal evidence suggests the poem was completed earlier, likely in the 1470s.
Blind Harry's reference to consulting William Wallace of Craigie while composing the poem is a significant clue. Since Wallace of Craigie is known to have died in 1479, this points to a completion date before that year.
Furthermore, the political climate of the 1470s, specifically King James III's policy of reconciliation with King Edward IV of England, provides another contextual hint. The poem's fiercely anti-English stance could be interpreted as a critique of this diplomatic overture, as exemplified by those opening verses I detailed earlier. It was a time of shifting alliances, and The Wallace offered a potent reminder of historical grievances.
Publication History: From Manuscript to Mass Appeal
Initially, The Wallace circulated solely in manuscript. The Ramsay Manuscript, penned by John Ramsay, a Prior of the Perth Charterhouse, in 1488, is the earliest known example. It resides today in the National Library of Scotland under the designation Adv. MS. 19.2.2 (ii).
The transition to print began in the early sixteenth century with Chepman and Myllar. Their edition is now largely lost, but its existence marks a pivotal moment in the poem's dissemination. Robert Lekpreuik's 1570 Edinburgh edition and Henry Charteris's 1594 Edinburgh edition followed, maintaining textual fidelity to the Ramsay manuscript.
The seventeenth century saw no new editions, a curious lull in its publication history. However, its popularity surged again in later centuries. William Hamilton of Gilbertfield's 1722 English translation, The Life and Heroick Actions of the Renoun'd Sir William Wallace, published in Glasgow, was a major success, spurring over 20 editions. A more scholarly, authentic Scots version was edited by John Jamieson in 1820, also published in Glasgow. The Scottish Text Society later published a scholarly transcript of the Ramsay manuscript in 1889.
Many other editions have since been released, ensuring the continued presence of The Wallace in Scottish literary consciousness. It’s a persistent narrative, isn't it? Stubborn. Like a stain you can’t quite scrub out.