Bothwell; or, The Days of Mary Queen of Scots, Volume 1 (of 3) — Story, Setting & Ideas

Historical Claims and Fictional Embellishment

Grant's preface makes bold assertions about the veracity of his narrative. He names Magister Absalom's Chapter Book as the source for the 'leading event' of the story, and lists specific incidents—Bothwell's journey to Denmark, the Queen's visit to Hermitage, the assault on Alison Craig's house—that he claims 'all occurred actually as related.' Yet the excerpt shows how Grant blends fact with fiction: the hall in Bergen is described with precise material details (the 'brazen chandelier,' the 'tapestry representing the voyage of Æneas'), while the dialogue about Rizzio's murder is dramatized with invented speech and gestures. Readers should note that the catalog subjects list Mary, Bothwell, and Scottish history, but the opening scene is set in Norway, and the political intrigue is filtered through Bothwell's perspective, not Mary's. Grant's claim to avoid 'distortion of history' is itself a rhetorical stance; the romance form necessarily shapes events into narrative arcs.

Setting as Character: The Castle of Bergen

The opening chapter devotes considerable space to the physical environment. The castle is described as having 'walls of red rock,' a floor 'whitened and sanded,' and a fireplace where 'a pile of driftwood blazed'—the wood being 'fragments of old wrecks' that 'might have told many a tale of suffering and of war.' This attention to material culture extends to the retainers, who are depicted 'lolling on hard wooden settles' or sleeping 'rolled up in their plaids, looking like bundles of tartan with a mop stick through them.' The game of Troy, the pewter tankard of malmsey wine, and the 'silver-mounted horns' all contribute to a sense of period authenticity. However, the setting also serves a dramatic function: the cold wind from the Baltic, the 'murky clouds,' and the 'red rays' of the sun create an atmosphere of isolation and impending conflict. Grant uses the castle's interior to stage political conversations, making the physical space an active element in the narrative.

Voice and Dialogue: Political Intrigue in the Hall

The dialogue in the excerpt reveals Bothwell's character through his speech patterns. He exclaims with 'kindling eyes,' uses oaths ('Ah! false bastard'), and employs colloquial terms ('poor knave'). The account of Rizzio's murder is delivered by Sir Gilbert Balfour in a detailed, almost reportorial style: 'the High Chancellor seized the palace gates at the head of a hundred and fifty tall spearmen, in corselets and steel bonnets.' The shift from Bothwell's heated exclamations to Balfour's measured narration creates a contrast in voices. Grant also uses dialogue to convey political alliances and enmities: Bothwell learns of Moray's 'machinations' and Morton's designs on his barony of Crichtoun. The conversation is punctuated by drinking—'they did with the devotion of three Germans quaffing for a wager'—which underscores the convivial yet tense atmosphere. This section of the excerpt demonstrates how Grant uses direct speech to advance the plot and characterize his historical figures, while the narrative voice remains omniscient, providing context and commentary.

Readers approaching this first volume should be aware that the story begins in medias res, with Bothwell already in exile. The preface offers a key to the novel's method: Grant weaves documented events into a fictional framework, but the excerpts show that his commitment to 'veracious' history does not preclude dramatic embellishment. Pay attention to the interplay between the detailed settings and the political dialogue—they work together to create a sense of authenticity while advancing the plot. The catalog subjects accurately reflect the novel's focus, but the opening Norwegian setting reminds us that Grant's Scotland is viewed from a distance, through the eyes of a protagonist on the margins of power.