the Struggle for Scotland
As Seen in Skirmish Magazine.
Renowned Midlands Dark-age group, Vikings! Of Middle England were back at Rockingham Castle for the August Bank Holiday weekend. It is a measure of their continued ability to impress, that this was the group's eighth season at the Castle in as many years. Such is the reputation of this Viking group that not only is it a great crowd puller, but it attracts other re-enactors from all over the country who wish to work with them. This August Bank Holiday saw members of the Icelandic Horse Society (IHS), who once more made the arduous journey up from Devon to share in the spectacle, and from Essex came members of the Colchester Historical Enactment Society (CHES) to enjoy their third outing in the company of VME. Also present were members of the Midgard Mercenaries (MM), some of whom belong jointly to VME. Others who have in the past joined the Rockingham retinue have included members of the Norman society 'Conquest'.
With an agenda to both entertain and educate, Vikings! Of Middle England brought to life, by way of a rolling scenario throughout each day, the true story of MacBeth, the much-maligned central figure of Shakespeare's "Scottish Play". Few people realise that MacBeth was even an historical personage, and even fewer know anything about him outside of what they have 'learnt' in the play.
The Real Macbeth
The story - presented as "The Struggle for Scotland" - commences in 1039, with Duncan , King of Scotland aiding his father-in-law Siward the Stout, in Northumbrian power politics. The pair besiege the city of Durham, held by Eadulf of Bamburgh. "Hastily constructed defences" made of upright posts set in the ground about three feet apart, complete with a gibbet and gruesomely realistic corpse, had been erected beyond the earthworks outside the walls of Durham. With informative narrative and an underlying yet effective musical sound track, the protagonists taunt each other and trade insults until hostilities finally break out. Once teased out from behind their defences the inhabitants hurl themselves at their enemy using a flying 'V' 'boarsnout' formation. As they punch through their opponents' line, the Scottish flanks find themselves apparently at an advantage and about to take their enemy from the rear. Too late, they realise the ruse, as Durham horsemen break out of the city to rout the attackers from behind. Duncan has lost yet again and he and Siward leave the field to lick their wounds.
Visitors were then invited to go to the encampment on the medieval tilting lawns, where they could see everyday life as it might have looked in 11th century Britain. By that time, 80% or more of England was Anglo-Danish and the nature of the presentation on this occasion accounted for the added appearance of Celtic costume. Vikings! Of Middle England [Group name Tÿrslið ] has over 90 members on its roll, and this figure was reflected in the number of dwellings on display. Tents were laid out as a village and included many interesting stalls, such as a fully working forge, leather-worker, herbalist, tablet-weaver and moneyer - where members of the public could strike their own Viking or Saxon coin. At the head of the village was the church enclave, which consisted of the Saxon chapel - a static but informative display, complete with the atmospheric aroma of Benedictine incense; the surgery, where the learned Bro. Surgeon instructed a young novice in anatomy - (using an amputated hand and foot!); and the calligraphy stall, where one could purchase a charter from the incumbent nuns, granting the freedom of the burgh. A 'have-a-go' archery stall was also on offer, complete with some instruction from a Tÿrslið member on the different types of arrow on display. At all points, members were at pains to talk to the public and answer their questions. The members of Tÿrslið pride themselves on being very 'user-friendly', whilst still retaining historical integrity.
The story of "The Struggle for Scotland" continued at the entrance to the village, which, for the purposes of this scene, then became the village of Bothngouane, near Elgin in Moray - MacBeth's home territory. The mounted King Duncan approaches MacBeth with "an intimidating show of force," almost offering a ceremonial challenge to MacBeth. Again using radio mikes for dynamic effect and accompanied by lucid narration, the scene unfolds. Accompanying MacBeth is his stepson - Lulach, and his cousin, Thorfinn the Mighty, Earl of Orkney, without whom, it is speculated, MacBeth would not have been as successful a monarch. Thorfinn's men secrete themselves, and as MacBeth drags Duncan from his horse, the ambush is signalled. Duncan's men, although surprised, fight fiercely. Eventually, MacBeth faces Duncan and they fight, both sides standing off as their respective leaders battle it out. MacBeth is victorious and the defeated Duncan soon lies slain at his feet. After the body of the fallen king is removed for burial on Iona, MacBeth and Thorfinn discuss the future of the realm. Thorfinn receives nine earldoms whilst the crown goes to MacBeth. The crowd learns, via the narrator, something of the generosity of MacBeth and the strength and prosperity of his reign; they are invited to return later in the day to witness the final scene in the saga.
Tÿrslið has become the foremost re-enactment group of its kind and never fails to give value for money. This formidable reputation ensures that there is never any shortage of shows and performances. Greatly in demand by TV companies, they have in recent years been featured in the acclaimed BBC productions "Blood of the Vikings" and "The Top Ten Treasures of the British Museum". Amongst the many colourful and varied displays offered by this group is a torch-lit procession and Viking funeral, complete with the sacrifice of a maidservant and funeral pyre. This may have been preceded by an equally atmospheric holmganga - a fearsome single combat to the death that is chillingly convincing and evocative. The sparks really do fly and the expectant crowd is never disappointed. The most spectacular presentation to date is a full siege, complete with horses, fire, battering rams, scaling ladders, archers and special effects. Critics of the group accuse it of 'blurring' the edges between reality and fantasy, but Vikings!(of Middle England) make no apologies for their use of special effects. War is a terrifying and horrendous experience. There is nothing glamorous about it. Tÿrslið tries to present history as it was, and not as political correctness would have us believe.
Meanwhile, back with "The Struggle for Scotland"- the final narrative link has moved us forward fourteen years. It is now 1054 and the forces of Siward the Stout and Malcolm Ceann Mor with his brother Donald Ban, the now grown-up sons of Duncan have come to Scotland seeking to visit a belated revenge upon MacBeth. They meet at Dunsinnen and here the performers are in their element. Second to none in the field of combat the two sides strive for supremacy. Blood is spilt as the special effects demonstrate. The flanks flux and flow, unlike re-enactments of yesteryear, when two lines of warriors would just poke at each other. By contrast, a VME battlefield is filled with countless little cameos; the priest and monks giving last rites; wounded warriors crawling on the ground, dying slowly; medics ministering to the injured; there are parleys as the protagonists again trade insults during lulls in the fighting. MacBeth, who has already killed Duncan, and subsequently Duncan's father, now faces his son, Malcolm. The two confront each other and fight. There are a series of dynamic clashes until, wounded, MacBeth is protected by his men. Seeing how the battle goes against him, MacBeth withdraws from the field, leaving Malcolm as victor. Although Malcolm is victorious, he only succeeds in ousting MacBeth from Lothian and Cumbria. It is another two years before Malcolm is able to finally vanquish and kill MacBeth at the battle of Lumphanon. Seven months later, King Lulach also falls to Malcolm.
These latter pieces of information are imparted by the narrator as the moving strains of Barber's Adagio underscores the scene being played out in front of the spectators. The battlefield is now strewn with the bodies of the dead and dying. The victors too have left, and the only movement is that of the women and children as they search among the dead for their loved ones; the only sound the anguished cries as they make that final, awful discovery.
The whole day, all in all was instructive, entertaining, sometimes moving, often frighteningly realistic and always professional. Tÿrslið lives up to its reputation by providing truly breath-taking and accomplished performances.
Damian Brooke
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