"All his time was great plenté,
Abundant both by land and sea."
What more is necessary? It is true, that on another occasion we have repudiated Wyntoun as an authority; but it is the privilege of the antiquarian speculator to found on an author when he is right, and repudiate him when he is wrong.
We now come to a subject on which really, jocularity apart, we stand upon firm and secure ground—the spot where Macbeth fell. All the chroniclers with one voice state that it was at a place called Lunfanan. Even Raphael Hollinshed, whose version, it is universally admitted, was the one perused by Shakspeare,—after he tells how the beleaguered fugitive beheld the miraculous forest with which his doom was involved approaching him, continues to say—"Nevertheless, he brought his men in order of battle, and exhorted them to do valiantly: howbeit, his enemies had scarcely cast from them their boughs, when Macbeth, perceiving their numbers, betook him straight to flight, whom Macduff pursued with great hatred, even till he came to Lunfannane." Perhaps Shakspeare, not knowing precisely where Lunfanan lay, supposed that it was some spot close to Dunsinane, and did not wish to burden his action with the particularity of an unimportant movement. Lunfanan is, however, north of the Dee, and distant full fifty miles in a straight line from Dunsinane, the rough mountains of the Braes of Angus lying between the two places; so that the two parties must have had a pretty long running fight, and Macbeth stood out even harder game than he has generally credit for. Our favourite poet describes the chase across the broad valley of Strathmore, through the rocky glens of Clova, over the Isla and the Esk, down through the hoary forest of Glentanner, across the raging Dee, and up again through mountain and forest, in this sententious and emphatic couplet,
"And our the Month they chaised him than
'Till the wood of Lunfanan."
When the victory was completed, we are told that they cut off his head, and bore it to King Malcolm at Kincardine—a pleasant village on the banks of the Dee, about ten miles from Lunfanan.
This same Lunfanan is a spot which it requires particular taste to love, and yet we have perambulated it not without interest. The Chroniclers speak of it as a forest, but the highest elevations are now generally bare of trees, save where in a few sheltered hollows the birches cling to the rocks. The hills are of considerable height, but round and bare, with few precipices, and little character of outline; but the glens between the hills are sheltered and well cultivated, each is enlivened by a small stream, and still more enlivened by the scanty population seeking the shelter of the recesses of the glen, and making it populous amid the waste. But we shall afford a better description than our own, in a few lines from "The Fortunate Shepherdess," by a poet who lived in a glen not far distant—Alexander Ross. It will be admitted, by the way, that our poetical quotations to-day are not of a hackneyed kind, whatever other censure they may incur.
"The water keely on a level sleed,
Wi' little din, but couthy what it made:
On ilka side the trees grew thick and strang,
And wi' the birds they a' were in a sang;
On ev'ry side, a full bow-shot and mair,
The green was even, gowany, and fair;
With easy sklent, on ev'ry hand, the braes,
To right well up, wi' scattered busses raise,
Wi' goats and sheep aboon, and ky below,
The bonny braes a' in a swarm did go."
Occasionally, when the new earth is turned up, strange uncouth warlike instruments are found in this district—remnants of ancient strife, so unlike any weapons recorded in the genuine history of the military art, that it were hard to say whether they belong to the age of Macbeth, or to unknown anterior centuries. Flint arrow-heads, stone hammers and axes,—such is their general character, though we have also seen among these mysterious discoveries, such a thing as a long flat mass of decomposed iron, which may have once been the blade of a dagger, or short sword. Here the knowing reader, who has been induced, on the field of Waterloo, to purchase a ball-perforated cuirass and helmet, which he afterwards discovers to have been made at a manufactory of Waterloo relics, will curl his lip in scorn; but he is wrong. Lunfanan is no relic-collecting district. We question if the inhabitants ever made a shilling of any one, the present company excepted, by the military stores discovered by them when ploughing their tough peat soil. We did not require there to practise the method of self-defence which we adopted on a visit to the field of Waterloo; and by the way—as we are inclined to recommend it strongly to our friends, as an effectual preservative from the main annoyance to which the hero-worshipper is subjected—we may here describe our method. On hiring our guide, we desired him to procure for us a fragment of an old kettle. Carrying this conspicuously in our hard, to each band of relic-sellers who came up, we stated that we were in the trade ourselves, that we had just acquired a very valuable article, and were willing to part with it at a moderate price. The cuirassiers did not look more ridiculous, when they attempted to storm the squares, than our assailants, when we fortified ourselves behind this piece of defensive armour. But to return to Lunfanan.
In one of the narrow glens, near the old parish-church, there is an oblong solid turf bank, or mound, of considerable height, and regular construction, as clean and sharp in its outline as the glacis of a modern fortification. A neighbouring stream has been diverted round it, or rather the waters have been divided and distributed on either side, so as to surround it with a fosse. This curious antiquity is called "the Peel Bog," or Castle Bog. "The course," says the author of the statistical account of the parish, "by which the water was conveyed from the burn of Lunphanan may still be traced; the measure of the circumvallation by which the water was confined may still be made; the situation of the drawbridge is still discernible; the path leading from the fosse to the top of the mound may still be trodden; and the sluice by which the water issued from the moat, was laid bare by the flood of 1829."[M] Even the sceptical Lord Hailes ventured to associate Macbeth's name with the spot; "as no remains of buildings," he says, "are to be seen, it is probable that the fortress was composed of timber and sod. In this solitary place, we may conjecture that Macbeth sought an asylum." At some distance from the Peel Bog, a low thin rampart of earth and stone encircles the summit of a conical hill; it is an inferior specimen of the old British hill-fort, well known both in Scotland and the north of England. But on the brow of one of the hills, there is a still more emphatic memorial of the monarch's fate. There a heap of gray stones, considerably larger than many others surrounding it, is still called, and is represented in the county maps as Cairn Beth. We must admit that, were it in a tourist's district, or were it the spot which popular literature, of any kind had marked as the grave of Macbeth, this would be suspicious. But no tourist's footstep seeks the quiet uninviting wilds of Lunfanan. There is no railway line, not even a stage-coach communication, between it and the world. You have but to see the rough, primitive, granitic air of the Lunfananers assembled at the parish church, to know that they are incapable of any imposition. Legends we always distrust, especially when they are connected with any spot sanctified by poetry. At Dunsinane, we believe, some vestiges are shown as marking the spot of the usurper's death, the "genuine" spot, "all others being spurious imitations;" but we suspect this legend is not even so old as Shakspeare's day, that it is no older than the revival of Shakspearean literature, and the rise of a general public interest in the spots illuminated by his genius.[N] For more than one castle, Cawdor included, has the merit been claimed of being the identical edifice in which Duncan was slain, and undoubted four-posted bedsteads have been shown in actual existence to put scepticism to scorn. But any popular association of the actual events of Macbeth's career with quiet remote Lunfanan has been barred by the silence of Shakspeare, and the unwillingness of topographical critics to break the spell of the accepted localities. Though legends spring up like rumours, with a breath, the names of places which they have received from historical incidents are generally of long standing, and, indeed, a large proportion of the lowlands of Scotland is full of places which to this day bear Celtic names, given them by tribes who cannot have inhabited the districts for a thousand years at least. The old chroniclers, without exception, lay Macbeth's death in Lunfanan; the people of the spot, who never read these chronicles, and never, perhaps, heard of Macbeth, or if they did, heard the popular account of his death in Dunsinane, call a certain monumental tumulus Cairn Beth—this, we think, is very nearly conclusive.[O] And yet, sitting on that Cairn, with the fresh breeze blowing round one, and the blue heavens above, and the blooming heather-bells around, or reclining on the smooth green turf of the Peel Bog, on a summer day, with the sun shining hot upon the hills, and the babbling brook singing its "quiet tune," it is not easy to associate the spot with that history of blood and horror, or to feel that its features are ancient, or that they ever were connected with warfare. In the gloomy, galleries of Glammis or Cawdor, with their grim old portraits, their armour, their secret staircases, their mysterious hidden chambers, and iron hooks in the wall—the idea of the haggard murderer, and all the associations of his deeds and his remorse creep more vividly on that imaginative conscience, which more or less makes cowards of us all in such places. Yet the history of the arts tells us that not one stone of these edifices, ancient though they be, can have stood upon another till the history of Macbeth was as old as that of Queen Mary is now. Why, then, should they retain their hold on us? They are contemporary with Shakspeare's Macbeth, though not with the historians', and are the style of edifice in which he cast his tragedy. It must be a feudal stronghold, heavily arched, buttressed, fortified, and gloomy,—where the lady in a vaulted half-lighted chamber may say:
"The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements."