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The Thrie Estaitis was first performed in the mid-sixteenth century to an audience of royalty and commoners alike. With its high style and penetrating political satire, it pressed for reform in Church and State and even in kingship itself with a hilarious masque of vice and corruption in high places.
Sir David Lindsay's great play is a milestone in world drama. After almost 400 years it was revived by Tyrone Guthrie in a famous production for the Edinburgh Festival of 1948. Ever since then this masterpiece has been recognised as a key text in the resurgence of political theatre in modern Scotland and it appears as irreverent today as it was in Lindsay's troubled times.
- Sales Rank: #1835799 in eBooks
- Published on: 2012-06-26
- Released on: 2012-06-26
- Format: Kindle eBook
About the Author
Sir David Lindsay of the Mount was born about 1485. The son of a Fife laird, Lindsay served for most of his life at the Scottish Court, as usher to the young James V, as Snowdon Herald, and eventually as Lyon King of Arms. While the nature and extent of Lindsay's commitment to Protestantism is a matter for debate, there is no mistaking the vigour of his condemnation of ecclesiastical misconduct, or the dramatic skill with which he brings his arguments to life. The Three Estaitis was successfully revived by Tyrone Guthrie, in an acting edition by Robert Kemp, for the Edinburgh Festival of 1948, and there have been several subsequent productions.
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The definitive critical edition of our times
By bmuse
To investigate the publishing history, of different editions of "Ane Satyre of the Thrie Estaits in Commendatioun of Vertew and Vituperatioun of Vyce", by David Lindsay, is to observe four hundred and fifty years of a drama that refuses to lie down and die. Never mind that the Middle Scots language of Lindsay's time is now past history, on a par with the English of Chaucer's Canterbury tales, and that nobody writes in that historical idiom any longer. Never mind that the Scottish Reformation, the religious/political upheaval disturbing both church and states, had yet to happen when the drama was written, and is now also past history. There is something about Lindsay that cannot be extinguished by the passage of time.
Over the centuries, therefore, Lindsay's literary works in general, and this massive play in particular, reappear in the public eye, if only by means of the printed word. No, there were no performances and productions that I have heard of between 1700 and the 1940's. Nevertheless, scholars became editors, editors found publishers, and publishers supplied new editions of Lindsay's Satyre, some along the lines of a facsimile or a reprint of the 1602 edition from Edinburgh, others more of a "Critical Edition," heavily annotated, supplied with notes, glossaries, commentary. In the 1800's alone there were perhaps three such editions (Chalmers, Hall/Small, Laing, to cite the names of the editors).
Roderick Lyall is acquainted with them all. He has also reviewed the 20th-century editors whose work preceded his own: Hamer, from before the Second World War, and Kinsley, just afterwards. His scholarship is formidable, his sentiments are solidly in Lindsay's favor, and his work is plainly the culmination of his academic career. Lyall's edition of Lindsay's drama is the critical edition to end them all. He has book-ended "Ane Satyre" with an erudite, detailed introduction on one side, and copious notes and commentary on the other. He cites each edition that preceded his own as necessary, and states frankly when he disagrees with his predecessors.
Lyall's presentation of "Ane Satyre of the Thrie Estaits" has now been before the public for twenty years or more; the edition has been updated and reprinted as necessary during that time. If Lindsay's drama is required for an English-speaking curriculum anywhere, plainly this edition is the preferred one for both students and lecturers. This is not a performance edition nor an "acting text," like the abridged version which Robert Kemp prepared for the late 1940's which was still being printed, and re-printed, nearly forty years later. This "Satyre" is unabridged and bristling with references to variances between publishers and editions. With performances of "Ane Satyre" receiving sponsorship and public notice over the past fifteen years or so, it is most likely this book upon which producers and directors will found their performance versions, whether unabridged or excerpted.
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