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The Waverley Gazette
Welcome to our latest news
When Christmas was banned in Scotland, with a recipe for Yule Cake from The Glasgow Cookery Book
Hello everyone,
We ran this blog piece last December just before Christmas and it was so interesting, we are running it today. The Yule Cake is more of a bread, than a cake, but good with cheese, or just with a soup.
Christmas in Scotland had been a religious feasting day until the time of the Scottish Reformation in 1560, when Scotland split from the Catholic Church and new beliefs and practices came in to being.
Yule
In 1640, the Scottish Parliament passed a law that made celebrating ‘Yule vacations’ illegal. The Reformation abolished Christmas as the greatest festival of the Christian year. Even baking Yule bread was an offence. Christmas was frowned upon in Scotland for a long time, which is why Hogmanay and New Year celebrations in Scotland became important. 25 December didn’t become a Scottish public holiday until 1958.
Previously, Yule bread had been a tradition for hundreds of years across the British Isles, as Yule was a pagan tradition, and part of the 12 day festival in winter that began with the winter solstice. Yule festivities were observed and practiced in Germanic nations and northern Europe. The ancient Celtic practice of bringing in a living tree to the home to bless it. Bringing in misletoe was also a tradition to praise nature.
1822 : Sir Walter Scott – a King in a kilt – and the rise of Tartan
Two hundred years ago, this week, the Citizens of Edinburgh and Leith were waiting impatiently for their King.
12 August 1822 was a Monday - King George IV’s 60th birthday, and coaches carrying the Regalia of Scotland and dignitaries from the Castle to Holyrood Palace were escorted in procession led by the Midlothian Yeomanry and companies of Highlanders who assembled on The Mound before proceeding to the Castle. Watched by packed crowds, the procession formally received the Regalia then returned by way of The Mound to Princes Street and on by Calton Hill to Holyrood House.
As the crowds watched the procession in Edinburgh, King George was on his way to Scotland aboard The Royal George.
The embarkation of his most Gracious Majesty George the Fourth at Greenwich, August 10th, 1822 for Scotland. Lord Mayor’s Barge &cc Royal George, Royal Sovereign. The James Watts Steam Boat. Royal Museums Greenwich.
The King's ship The Royal George arrived in the Firth of Forth at noon on Wednesday 14 August, but his landing was postponed due to torrential rain.
It was not until Thursday 15 August, that the King, in naval uniform, arrived in sunshine at the quayside at The Shore, Leith.
The detail below is from a painting by Alexander Carse showing King George IV landing on the Shore at Leith in 1822. The main building is the Custom House on the opposite bank of the Water of Leith.
On the morning of the 15th it ceased to rain ; and our revered Monarch, as he ascended the deck, beheld the Scottish capital, with its towers and palaces, basking in the rays of an autumnal sun, and the surrounding country spread out before him in all its loveliness. The frith was covered with innumerable boats and vessels, in their gaudiest apparel ; and from many of them arose the strains of the bagpipe, which floated over the waters, and were heard in the distance, wild, yet pensive, like the voice of Scotland's Genius, welcoming her Sovereign to her hospitable shores. What were the emotions of the King when he beheld this glorious scene — when he contemplated the abodes of his illustrious ancestors — when he looked around, and saw the distant Grampians,— Dunfermline, where all that was perishable of the great Bruce slumbers in dust,—and scenes innumerable, consecrated in the hearts of the patriot and the scholar !
In the city of Edinburgh all was joy and breathless expectation. Its inhabitants were about to witness a scene the most grand and impressive, the most grateful to their feelings of any recorded in their annals — a scene surpassing every triumph of ancient or modern times —a scene which imperial Rome herself could never have exhibited. They felt, that they were about to receive within their walls the greatest potentate upon earth — their own Sovereign —a prince as beloved as he is powerful —who came among them to make a tender of his love, in return for their tried fidelity and courage; and that this reception was to be conducted under circumstances of such splendour as would exalt the character of their country, and for ever stifle in its own falsehood the reproach of parsimony and calculating selfishness which ignorance had delighted to cast upon it.
We speak not in the spirit of exaggeration; for, after revolving every circumstance in our minds, the immense multitudes collected, the magnificence of the preparations, the joy that was everywhere visible, the picturesque beauty of the ground, and, above all, the occasion, so deeply interesting to a people, national above all others in their feelings,—we venture to assert, that there never was exhibited a scene combining greater solemnity and grandeur.
A Historical Account of His Majesty's Visit to Scotland, Mudie, 1822
Alan Grant
It was with great sadness, that on Thursday July 21st, 2022, we learned of the passing of Alan Grant.
We were not part of Alan Grant’s world which embraced Starlord, Judge Dredd, Strontium Dog, Robo-Hunter and Ace Trucking Co., Doomlord, Joe Soap Private Eye, Computer Warrior, The Outsiders, Nightbreed and The Last American, Detective Comics, Shadow of the Bat, Lobo, L.E.G.I.O.N ’89, Legends of the Dark Knight, and The Demon.
However, in 2006, at Scottish comics artist Cam Kennedy’s suggestion, we tempted Alan back from the future. The proposal was to adapt a story set in 1751 to create a graphic novel to be accessible to many, who would not perhaps otherwise read such a classic. It was Robert Louis Stevenson's Kidnapped. Set during the time of the Jacobite rebellion, a tumultuous and tragic period in Scottish history, Kidnapped had of course already been adapted for film, stage, audio, and published in book form many, many times.
What resulted was an adaptation of the dramatic and epic adventure story that brought together two creative giants from the world of the graphic novel, as the absolute ‘dream team’ – artist Cam Kennedy, and scriptwriter Alan Grant.
The idea turned into a major publishing initiative. Kidnapped was published simultaneously in English, simplified English, Scots and Gaelic and it was the focus of Edinburgh UNESCO City of Literature’s ‘One City One Book Campaign’ in February 2007. Several publishing companies were involved in the campaign, led by Waverley Books – Black & White, Canongate and Barrington Stoke.
There have been many fitting tributes to Alan from across the world.
Alan Grant will be missed. It was a privilege to know him and to work with him on Kidnapped and subsequently on Strange Case of Dr Jekyll and Mr Hyde.
Ron Grosset, 25/7/22
Waverley Books, Glasgow.
Burns Night - January 25th ; The story behind Tam O' Shanter ; Tam O' Shanter Part 5
And so here we are, January 25th. Burns Night.
We have been featuring Burns’ epic poem Tam O’ Shanter, today being the 5th and concluding part with a simplified English translation.
The story behind the poem is interesting.
This marvellously vivid piece of description, represents more fully than any of Burns' other poems the greatness of his imaginative gifts; and apart from songs and the Elegy on Captain Henderson is the only very notable example of his muse during the last nine years of his life.
Yet it owes its origin to mere accident.
The churchyard surrounding the ruined kirk of Alloway was the burial place of his father, and when Burns in 1789 met Captain Francis Grose while he was staying with Robert Riddell at the Friar’s Carse, when visiting Scotland to making drawings for his work on The Antiquities of Scotland, he suggested to Grose to insert a picture of the ruined kirk in his volume. But as no architectural interest attaches to the ruin, Grose only agreed to the request on condition that Burns should "furnish a witch story to be printed along with it". Apparently what Grose expected and Burns first intended was a witch story in prose, for he sent three samples from which Grose might chose; and it was only by a happy second thought that Burns found in one of the tales the theme for his immortal Tam o' Shanter.
Here is the Tam O’Shanter story in Burns's own prose: —
On a market-day in the town of Ayr, a farmer from Carrick and consequently whose way lay by the very gate of Alloway kirkyard, in order to cross the river Doon at the old bridge, which is about two or three hundred yards further on than the said gate, had been detained by his business till by the time he reached Alloway it was the wizard hour between night and morning.
Though he was terrified with a blaze shining from the kirk, yet, as it is a well-known fact that to turn back on these occasions is running by far the greatest risk of mischief, he prudently advanced on his road.
When he had reached the gate of the kirkyard, he was surprised and entertained, through the ribs and arches of an old Gothic window, which still faces the highway, to see a dance of witches merrily footing it round their old sooty blackguard master, who was keeping them all alive with the power of his bagpipe.
The farmer, stopping his horse to observe them a little, could plainly descry the faces of many old women of his acquaintance and neighbourhood. How the gentleman was dressed tradition does not say, but that the ladies were all in their smocks: and one of them
happening unluckily to have a smock which was considerably short to answer all the purposes of that piece of dress, our farmer was so tickled that he involuntarily burst out with a loud laugh, 'Weel luppen Maggy wi' the short sark!', and, recollecting himself, instantly spurred his horse to the top of his speed.
I need not mention the universally known fact, that no diabolical power can pursue you beyond the middle of a running stream. Lucky it was for the poor farmer that the river Doon was so near, for notwithstanding the speed of the horse, which was a good one, when he reached the middle of the arch of the bridge, and consequently the middle of the stream, the pursuing vengeful hags were so close at his heels that one of them actually sprang to seize him; but it was too late; nothing was on her side of the stream but the horses tail, which immediately gave way at her infernal grip, as if blasted by a stroke of lightning; but the farmer was beyond her reach.
However the unsightly tailless condition of the vigorous steed was, to the last hour of the noble creature's life, an awful warning to the Carrick farmers not to stay too long in Ayr markets.
From Robert Burns' Poems, Edited by T.F. Henderson, published Heidelberg, 1906.
Illustration : Alloway Kirk from Grose's The Antiquities of Scotland
A Traditional Burns Supper; Tam O' Shanter Part 4
A traditional Burns Supper can be a formal dinner held on, or around, Burns Night. Guests normally dress in traditional Highland dress – the men in kilts or tartan trousers and the women in smart dresses or formal evening wear, perhaps with a dash of tartan. Burns himself did not wear tartan but now the night is something of an occasion. Families and friends might dress up and have something along the same lines, or have a quiet evening celebrating Scotland’s national poet and the universal themes he immortalised. Some elements will be common to each meal. Outside of the normal toasts, there may be a keynote speaker (at a big dinner this might be a celebrity or personality).
The Selkirk Grace :
This is a Scottish Prayer associated with Robert Burns. After the host’s words of welcome, when the guests are seated, this grace is said:
Some hae meat and canna eat,
And some wad eat that want it;
But we hae meat, and we can eat,
Sae let the Lord be thankit.
Cock-a-Leekie Soup:
A soup made with chicken with giblets, leeks, water, rice, bay leaf and seasoning.
(A vegetarian dish is offered also)
Other soups commonly on a Burns Night menu :
Scotch Broth (Soup of barley; lamb, mutton or beef, root vegetables; pulses)
Cullen Skink (Soup of smoked haddock, potatoes, onions)
Address To A Haggis
which begins:
Fair fa’ your honest, sonsie face,
Great chieftain o the puddin’-race!
Aboon them a’ ye tak your place,
Painch, tripe or thairm:
Weel are ye wordy of a grace
As lang’s my arm.
Haggis, Warm ‘n Reekin’, wi Champit Tatties Mashed Neeps and a Wee Dram
Haggis – traditionally made with a sheep's pluck and stomach-bag, the lungs and heart minced, the liver chopped; suet; oatmeal; onions; chopped parsley, herbs and seasoning, served with mashed potatoes and mashed turnips, presented with a small glass of Scotch whisky.
A vegetarian or vegan dish is always offered now of course.
Tipsy Laird
A classic trifle, made with whisky, Scottish raspberries, jelly and custard, with grated chocolate.
Oatcakes and Ayrshire Cheese ; A Tassie o’ Coffee and anither Wee Dram
The Immortal Memory :
The Immortal Memory celebrates Burns' enduring spirit, in a tribute to Robert Burns.
Ca’ the Yowes : a song, by Robert Burns. The chorus:
Ca' the yowes to the knowes,
Ca' them where the heather grows
Ca' them where the burnie rows,
My bonie dearie.
Tam O’ Shanter :
A recital of ‘Tam O’Shanter’– the epic poem in which Burns paints a vivid picture of the drinking classes in the old Scotch town of Ayr in the late 18th century. where the speaker is expected to recite the poem from memory. First lines :
When chapmen billies leave the street,
And drouthy neebors, neebors meet,
As market days are wearing late,
An' folk begin to tak the gate;
While we sit bousing at the nappy,
And getting fou and unco happy,
A Toast to the Lassies :
These days this toast may be a humorous speech. It is treated as a highlight of the evening. The speaker is expected to praise the role of women in the world today. There will be some references to Burns work. It is about women and their influence and effect on men, perhaps alluding to some of those present.
The Reply or Toast to the Laddies:
Again, this toast is expected to be a highlight of the evening. A female guest will give her views on men. She has to think on her feet and reply to any specific points raised in the previous toast. Also she needs to be witty and humorous and not offensive. Done well, it is full of charm.
Is There For Honest Poverty : a song, by Robert Burns.
"A Man's a Man for A' That", also known as "Is There for Honest Poverty" is a 1795 song by Robert Burns famous for its expression of support for the principle of equality for all people. The first verse :
Is there for honest Poverty
That hings his head, an' a' that;
The coward slave - we pass him by,
We dare be poor for a' that!
For a' that, an' a' that.
Our toils obscure an' a' that,
The rank is but the guinea's stamp,
The Man's the gowd for a' that.
Vote of Thanks and anither Wee Dram
Auld Lang Syne
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