A master hand has so often described the glens and ravines of Scotland, that it seems vain and presumptuous to meddle with them; and yet we must ask our readers to figure to themselves a sharp cleft sloping downwards to a brawling mountain stream, the sides scattered with gray rocks of every imaginable size, interspersed here and there with heather, gorse, or furze.  Just in the widest part of the valley, a sort of platform of rock jutted out from the hill-side, and afforded a station for one of those tall, narrow, grim-looking fastnesses that were the strength of Scotland, as well as her bane.

Either by nature or art, the rock had been scraped away on three sides, so that the walls of the castle rose sheer from the steep descent, except where the platform was connected with the mountain side by, as it were, an isthmus joining the peninsula to the main rock; and even this isthmus, a narrow ridge of rock just wide enough for the passage of a single horse, had been cut through, no doubt with great labour, and rendered impassable, except by the lowering of a drawbridge.  Glenuskie Castle was thus nearly impregnable, so long as it was supplied with water, and for this all possible provision had been made, by guiding a stream into the court.

The castle was necessarily narrow and confined; its massive walls took up much even of the narrow space that the rock afforded; but it had been so piled up that it seemed as though the builders wished to make height compensate for straitness.  There was, too, an unusual amount of grace, both in the outline of the gateway with its mighty flanking towers, and of the lofty donjon tower, that shot up like a great finger above the Massy More, as the main building was commonly called by the inhabitants of Glenuskie.

Wondrous as were the walls, and deep-set as were the arches, they had all that peculiar slenderness of contour that Scottish taste seemed to have learnt from France; and a little more space was gained at the top, both of the gateway towers and the donjon, by a projecting cornice of beautifully vaulted arches supporting a battlement, that gave the building a crowned look.  On the topmost tower was of course planted the ensign of the owner, and that ensign was no other than the regal ruddy Lion of Scotland, ramping on his gold field within his tressure fiery and counter flory, but surmounted by a label divided into twelve, and placed upon a pen-noncel, or triangular piece of silk.  The eyes of the early fifteenth century easily deciphered such hieroglyphics as these, which to every one with the least tincture of ‘the noble science’ indicated that the owner of the castle was of royal Stewart blood, but of a younger branch, and not yet admitted to the rank of knighthood.

The early spring of the year 1421 was bleak and dreary in that wild lonely vale, and large was the fire burning on the hearth in the castle hall, in the full warmth of which there sat, with a light blue cloth cloak drawn tightly round him, a tall old man, of the giant mould of Scotland, and with a massive thoughtful brow, whose grand form was rendered visible by the absence of hair, only a few remnants of yellow locks mixed with silver floating from his temples to mingle with his magnificent white beard.  A small blue bonnet, with a short eagle feather, fastened with a brooch of river pearl, was held in the hands that were clasped over his face, as, bending down in his chair, he murmured through his white beard, ‘Have mercy, good Lord, have mercy on the land.  Have mercy on my son,–and guard him when he goes out and when he comes in.  Have mercy on the children I have toiled for, and teach me to judge and act for them aright in these sore straits; and above all, have mercy on our King, break his fetters, and send him home to be the healer of his land, the avenger of her cruel wrongs.’

So absorbed was the old man that he never heard the step that came across the hall.  It was a slightly unequal step, but was carefully hushed at entrance, as if supposing the old man asleep; and at a slow pace the newcomer crossed the hall to the chimney, where he stood by the fire, warming himself and looking wistfully at the old Knight.

He was wrapped in a plaid, black and white, which increased the gray appearance of the pale sallow face and sad expression of the wearer, a boy of about seventeen, with soft pensive dark eyes and a sickly complexion, with that peculiar wistful cast of countenance that is apt to accompany deformity, though there was no actual malformation apparent, unless such might be reckoned the slight halt in the gait, and the small stature of the lad, who was no taller than many boys of twelve or fourteen.  But there was a depth of melancholy in those dark brown eyes, that went far into the heart of any one who had the power to be touched with their yearning, appealing, almost piteous gaze, as though their owner had come into a world that was much too hard for him, and were looking out in bewilderment and entreaty for some haven of peace.

He had stood for some minutes looking thoughtfully into the fire, and the sadness of his expression ever deepening, before the old man raised his face, and said, ‘You here, Malcolm? where are the others?’

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The Caged Lion

by Charlotte Mary Yonge, 1868-9

Image by Mariia Sniegirova