.
The M’Kenzies followed with infinite zeal; and more than one ball had whistled over the head of the seer before he reached Loch Ousie. The consequences of this prediction so disgusted Kenneth with any further exercise of his prophetic calling, that, in the anguish of his flight, he solemnly renounced all communication with its power; and, as he ran along the margin of Loch Ousie, he took out the wonderful pebbles, and cast them in a fury into the water. Whether his evil genius had now forsaken him, or his condition was better than that of his pursuers, is unknown, but certain it is, Kenneth, after the sacrifice of the pebbles, outstripped his enraged enemies, and never, so far as I have heard, made any attempt at prophecy from the hour of his escape.
Kenneth Oer had a son, who was called Ian Dubh Mac Coinnach (Black John, the son of Kenneth), and lived in the village of Miltoun, near Dingwall. His chief occupation was brewing whisky; and he was killed in a fray at Miltoun, early in the present century. His exit would not have formed the catastrophe of an epic poem, and appears to have been one of those events of which his father had no intelligence, for it happened in the following manner:—
Having fallen into a dispute with a man with whom he had previously been on friendly terms, they proceeded to blows; in the scuffle, the boy, the son of Ian’s adversary, observing the two combatants locked in a close and firm gripe of eager contention, and being doubtful of the event, ran into the house and brought out the iron pot-crook, with which he saluted the head of the unfortunate Ian so severely, that he not only relinquished his combat, but departed this life on the ensuing morning.
ELPHIN IRVING
THE FAIRIES’ CUPBEARER.
“The lady kilted her kirtle green
A little aboon her knee,
The lady snooded her yellow hair
A little aboon her bree,
And she’s gane to the good greenwood
As fast as she could hie.
And first she let the black steed pass,
And syne she let the brown,
And then she flew to the milk-white steed,
And pulled the rider down:
Syne out then sang the queen o’ the fairies,
Frae midst a bank of broom,
She that has won him, young Tamlane,
Has gotten a gallant groom.”
“The romantic vale of Corriewater, in Annandale, is regarded by the inhabitants, a pastoral and unmingled people, as the last border refuge of those beautiful and capricious beings, the fairies. Many old people yet living imagine they have had intercourse of good words and good deeds with the ‘good folk’; and continue to tell that in the ancient days the fairies danced on the hill, and revelled in the glen, and showed themselves, like the mysterious children of the deity of old, among the sons and daughters of men. Their visits to the earth were periods of joy and mirth to mankind, rather than of sorrow and apprehension. They played on musical instruments of wonderful sweetness and variety of note, spread unexpected feasts, the supernatural flavour of which overpowered on many occasions the religious scruples of the Presbyterian shepherds, performed wonderful deeds of horsemanship, and marched in midnight processions, when the sound of their elfin minstrelsy charmed youths and maidens into love for their persons and pursuits; and more than one family of Corriewater have the fame of augmenting the numbers of the elfin chivalry. Faces of friends and relatives, long since doomed to the battle-trench or the deep sea, have been recognised by those who dared to gaze on the fairy march. The maid has seen her lost lover, and the mother her stolen child; and the courage to plan and achieve their deliverance has been possessed by, at least, one border maiden. In the legends of the people of Corrievale, there is a singular mixture of elfin and human adventure, and the traditional story of the Cupbearer to the Queen of the Fairies appeals alike to our domestic feelings and imagination.
“In one of the little green loops or bends on the banks of Corriewater, mouldered walls, and a few stunted wild plum-trees and vagrant roses, still point out the site of a cottage and garden. A well of pure spring-water leaps out from an old tree-root before the door; and here the shepherds, shading themselves in summer from the influence of the sun, tell to their children the wild tale of Elphin Irving and his sister Phemie; and, singular as the story seems, it has gained full credence among the people where the scene is laid.”
“I ken the tale and the place weel,” interrupted an old Scottish woman, who, from the predominance of scarlet in her apparel, seemed to have been a follower of the camp,—“I ken them weel, and the tale’s as true as a bullet to its aim and a spark to powder. O bonnie Corriewater, a thousand times have I pulled gowans on its banks wi’ ane that lies stiff and stark on a foreign shore in a bloody grave;” and, sobbing audibly, she drew the remains of a military cloak over her face, and allowed the story to proceed.
“When Elphin Irving and his sister Phemie were in their sixteenth year, for tradition says they were twins, their father was drowned in Corriewater, attempting to save his sheep from a sudden swell, to which all mountain streams are liable; and their mother, on the day of her husband’s burial, laid down her head on the pillow, from which, on the seventh day, it was lifted to be dressed for the same grave. The inheritance left to the orphans may be briefly described: seventeen acres of plough and pasture land, seven milk cows, and seven pet sheep (many old people take delight in odd numbers); and to this may be added seven bonnet-pieces of Scottish gold, and a broadsword and spear, which their ancestor had wielded with such strength and courage in the battle of Dryfe Sands, that the minstrel who sang of that deed of arms ranked him only second to the Scotts and Johnstones.
“The youth and his sister grew in stature and in beauty. The brent bright brow, the clear blue eye, and frank and blithe deportment of the former gave him some influence among the young women of the valley; while the latter was no less the admiration of the young men, and at fair and dance, and at bridal, happy was he who touched but her hand, or received the benediction of her eye. Like all other Scottish beauties, she was the theme of many a song; and while tradition is yet busy with the singular history of her brother, song has taken all the care that rustic minstrelsy can of the gentleness of her spirit and the charms of her person.”
“Now I vow,” exclaimed a wandering piper, “by mine own honoured instrument, and by all other instruments that ever yielded music for the joy and delight of mankind, that there are more bonnie songs made about fair Phemie Irving than about all other dames of Annandale, and many of them are both high and bonnie. A proud lass maun she be if her spirit hears; and men say the dust lies not insensible of beautiful verse; for her charms are breathed through a thousand sweet lips, and no further gone than yestermorn I heard a lass singing on a green hillside what I shall not readily forget. If ye like to listen, ye shall judge; and it will not stay the story long, nor mar it much, for it is short, and about Phemie Irving.” And, accordingly, he chanted the following rude verses, not unaccompanied by his honoured instrument, as he called his pipe, which chimed in with great effect, and gave richness to a voice which felt better than it could express:—
Gay is thy glen, Corrie,
With all thy groves flowering;
Green is thy glen, Corrie,
When July is showering;
And sweet is yon wood where
The small birds are bowering,
And there dwells the sweet one
Whom I am adoring.
Her round neck is whiter
Than winter when snowing;
Her meek voice is milder
Than Ae in its flowing;
The glad ground yields music
Where she goes by the river;
One kind glance would charm me