Ane Satyre of the Thrie Estaitis,
Scotland’s great medieval play, by Sir David Lindsay of the Mount
One of the country’s great cultural moments took place on the Castle Hill of Cupar in 1552 when Sir David Lindsay’s satire was performed for the first time. A bawdy romp written in old Scots, the play satirised the country’s corrupt and venal institutions known as the three estates: the clergy, the nobility and laity (burgh merchants).
Regarded as Scotland’s first and perhaps finest dramatist Sir David (c.1485-1555), hailed from the Mount, an estate just outside Cupar. He was tutor to the infant King James V, a royal courtier and Lord Lyon King of Arms. His popularity as a playwright and poet equalled that later enjoyed by Robert Burns, with his work highly regarded in its time, and still being read and recited for many years after that. Although there are some early images, no contemporary likeness of Sir David is known.
The full play was rarely performed. It could last many hours and the words, written as they were spoken at the time in old Scots, can be difficult to read. A shorter, modernised adaptation by writer Robert Kemp was staged by director Tyrone Guthrie at the Edinburgh Festival in 1948, and put on again at the Festival in subsequent years. There have been other revivals since and the play made a triumphant return to the Castlehill in Cupar for the Millennium celebrations in 2000. Local charity, Three Estates Cupar, commissioned a new two-hour-long version in 2020 from Cupar-born actor and writer John Bett.
The Castle Hill was the site of Cupar Castle, which overlooked the boggy confluence of the Lady Burn and River Eden. It belonged to Macduff, the ‘Thane of Fife’ and adversary of Macbeth in Shakespeare’s play and was often besieged and fought over until about 1339 when it was captured and destroyed by forces loyal to King David II, apparently to prevent it being retaken by his enemies. After that, Castlehill became a playground for local people, the natural place for actors to perform and a crowd to gather and indulge in rowdy, drink-fuelled audience participation – not unlike the reception that greeted Shakespeare’s plays in London. Later, schools were sited on the hill for the more sober pursuit of education.
Of the three estates satirised by Sir David, the one that came in for the most visceral criticism was the Church. At the time it was Roman Catholic, but reformist ideas had been circulating in Europe for some time, highlighting the degeneracy and greed pervading the Scottish church. A fierce critic, Sir David campaigned for change, paving the way for the Reformation in 1560 led by John Knox. Ironically the church reformers of the 16th century cracked down so hard on the fun and frivolity of the performing arts, they stifled the development of Scottish drama for some time; perhaps it’s just as well Sir David didn’t live to see it.
Ane Satyre of the Thrie Estaitis,
Scotland’s great medieval play, by Sir David Lindsay of the Mount
One of the country’s great cultural moments took place on the Castle Hill of Cupar in 1552 when Sir David Lindsay’s satire was performed for the first time. A bawdy romp written in old Scots, the play satirised the country’s corrupt and venal institutions known as the three estates: the clergy, the nobility and laity (burgh merchants).
Regarded as Scotland’s first and perhaps finest dramatist Sir David (c.1485-1555), hailed from the Mount, an estate just outside Cupar. He was tutor to the infant King James V, a royal courtier and Lord Lyon King of Arms. His popularity as a playwright and poet equalled that later enjoyed by Robert Burns, with his work highly regarded in its time, and still being read and recited for many years after that. Although there are some early images, no contemporary likeness of Sir David is known.
The full play was rarely performed. It could last many hours and the words, written as they were spoken at the time in old Scots, can be difficult to read. A shorter, modernised adaptation by writer Robert Kemp was staged by director Tyrone Guthrie at the Edinburgh Festival in 1948, and put on again at the Festival in subsequent years. There have been other revivals since and the play made a triumphant return to the Castlehill in Cupar for the Millennium celebrations in 2000. Local charity, Three Estates Cupar, commissioned a new two-hour-long version in 2020 from Cupar-born actor and writer John Bett.
The Castle Hill was the site of Cupar Castle, which overlooked the boggy confluence of the Lady Burn and River Eden. It belonged to Macduff, the ‘Thane of Fife’ and adversary of Macbeth in Shakespeare’s play and was often besieged and fought over until about 1339 when it was captured and destroyed by forces loyal to King David II, apparently to prevent it being retaken by his enemies. After that, Castlehill became a playground for local people, the natural place for actors to perform and a crowd to gather and indulge in rowdy, drink-fuelled audience participation – not unlike the reception that greeted Shakespeare’s plays in London. Later, schools were sited on the hill for the more sober pursuit of education.
Of the three estates satirised by Sir David, the one that came in for the most visceral criticism was the Church. At the time it was Roman Catholic, but reformist ideas had been circulating in Europe for some time, highlighting the degeneracy and greed pervading the Scottish church. A fierce critic, Sir David campaigned for change, paving the way for the Reformation in 1560 led by John Knox. Ironically the church reformers of the 16th century cracked down so hard on the fun and frivolity of the performing arts, they stifled the development of Scottish drama for some time; perhaps it’s just as well Sir David didn’t live to see it.
