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Appendix Index of Symbols, Cant and Code Appendix Index of Symbols, Cant and Code ABC: ‘A Blessed Change’: the coded invocation of a restoration. Acorn: Acorns were used on Interregnum stump work as signs of loyalty to Charles II, who hid in an oak at Boscobel after the battle of Worcester (1651), before escaping to the Continent. The use of acorns was a reminder of the oaks into which they grow, and the hope of a restoration or victory for the Royalist/Jacobite cause (see also oak). Aeneas: Exiled from his homeland, the Trojan hero was widely taken as a sym- bol of Charles II and later the exiled Stuarts. Vergilian phrases were used as tags of Jacobite memorialization. ‘Aeneas’ himself was usually James VIII: the title did not transfer to either of his sons. Aisling: ‘(dream) vision’ in Irish Gaelic. In its classic form, the poet sees a vision of a strange unearthly woman, the spéirbhean or sky-woman heroine, who symbolizes the nation, and would develop into the Cathleen Ni Houlihan or Sean Bhean Bhocht figures of more modern Irish nationalism. The woman is the land, appearing as a beloved who is bereft of her destined lover, who will on his return renew her to beauty and fertility. The plea is for the just king’s restoration, for an unjust reign is marked by infertility. In Ireland as in England, the Jacobite heir might be depicted as a ‘young shepherd’, while in Scotland Flora MacDonald might appear as a shepherdess. Alba: the white land, the name in Gaelic for Scotland, which was punningly associated with the Latin for ‘white’ from the seventeenth century on. Alexis: Charles Edward Stuart, most famously so in the 1747 poem of that name, possibly written by Alastair MacMhaighstir Alasdair. All absent friends, all ships at sea, and the auld pier at Leith: a Jacobite toast from Edinburgh. The ‘absent friends’ were exiled Jacobites, the ‘ships at sea’ would bring them home as they took them away, and the pier at Leith was a traditional point of departure from Scotland for those who had fallen foul of the authorities. Amen: the last word of the Jacobite national anthem and the name of a famous kind of Jacobite glass. Anamorphosis: an image of the Prince became visible at a certain angle. Holbein’s The Ambassadors is perhaps the most famous example of this tech- nique in painting. Anchor: symbol of hope, found on glasses. Apples: fertility and renewal. Arma Christi: the ‘Five Wounds’ of Christ, symbol of Catholic suffering after the Reformation, extended to Jacobitism in contexts such as Pope’s garden at Twickenham and at Castle Fraser. Astraea: goddess of justice, who in the end always catches up with history and its offenders in a renovatio, renewing the state of the earth and bringing back the golden age of Saturn. It is she who ushers in the golden age of Vergil’s Eclogue IV, and this personification was taken as the basis for the renewed golden age of Queen Elizabeth, as discussed in Frances Yates’s Astraea (1975). 159 160 Appendix John Dryden transferred the identification, first of all to Charles II in Astraea Redux and then to Mary of Modena, mother of James III and VIII, in ‘Britannia Rediviva’. Astraea could be depicted in pastoral vein, as a shepherdess. Audentior Ibo: ‘I go more boldly’, from Vergil, Aeneid IX, 291. A promise that the Jacobite cause was on the march. Bacchus: Bacchus enthroned is an image of disorder or misrule. Bagpipes: symbol of patriot Scotland, often used in conjunction with banners as an image of military resistance (I am grateful to my PhD student Vivien Williams for this point). Barber: code for Charles I. Bee/Bee hive: The bee and bee hive were both used as Jacobite devices, in a tradition which drew on Vergil’s advice in Georgics IV that bees might come from carrion (still seen on Tate & Lyle tins): from the defeat of the cause will come its victory. Bien Venu: Welcome, in French because restoration will come from France. Bird in flight: the generic portrayal of the Stuart heir as a bird, either fleeing or returning, was widespread: see songs such as ‘A Wee Bird Cam to Our Ha Door’. Blackbird: a term of reference initially to Charles II, later to James VIII and III, both of whom had dark hair: Charles II was also called the ‘black boy’. However, the roots of this image lie deeper: Fionn MacCumhail’s sword was the ‘blackbird’s son’ and ‘blackbird speech’ was the noise of the clash of the swords of the Fianna. The blackbird is the singer of the most beautiful music in Ossianic lays, and it guards its nest as the Fianna guard Ireland. Driving the ‘royal blackbird’ from the three kingdoms leaves them unguarded, open – par- ticularly in Irish lore and the aisling – to the entry of the stranger. Blue: True Blue – symbolizing peace and honour – was a term associated with Church of England (as opposed to Catholic or even Nonjuring) support for the Stuart cause, although it had earlier been used by Monmouth’s supporters. In Ireland, its association with Protestantism outweighed all other considera- tions, and it is not found there except in a Hanoverian loyalist context. It is also associated with insular and xenophobic politics. Bricleir, An: the Bricklayer: one who constructs the state. There is a distant analogy with the Stuart heir as Christ’s role as a keystone in humanity’s rela- tionship with God. Buachaill Ban, An: the white- (fair-) headed boy: a term of affection in Irish Gaelic, not necessarily linked to blonde colouring. Such colouring indicated fertility in the shape of a good corn crop, however, and was symbolically tied to the fair-haired Charles Edward. There is a nostalgic aisling Jacobite song of this title by Sean Ó Coileain (1754–1817), where the speaker sees his vision under a green-boughed oak. Buds: returning fertility. Butterfly: a presage of successful restoration. Carnation: coronation, a simple code. Carolum inter reges ut Lillium inter flores: Charles is among kings as the lily is among flowers: the reference could be a false loyalist one which appeared to refer to Charles I or II. Caterpillar: a caterpillar with a human head symbolizes rebirth and restoration. It could be an image of the soul returning home (to Scotland), or of Charles I. Appendix 161 Ceres: an image of restored fertility, deriving from Pliny and quite often associ- ated with Queen Anne. Chrysanthemum: grief and mourning. Clarior e Tenebris: ‘brighter from obscurity’. The idea that the dynasty would be renewed by restoration. This phrase was associated with the image of the sun. Cognuscunt me meae: ‘my own recognize me’ (John 10), both a teasing refer- ence to this phrase’s clear identification of Jacobite sympathies while remain- ing invulnerable from prosecution, and a sidelong allusion to the Gospel exhortation, ‘He who has ears to hear, let him hear’, a reference which places the Stuart heir in the role of Christ. This was an identification which neither Royalists nor Jacobites had been shy of making since the days of Charles I. Compass: the king and his realm cannot be finally divided, however they drift apart. Compasses might point towards the (Jacobite) star. Confusion to the White Horse: of Hanover. A toast. Corn: restored fertility. Craobhín Aoibhinn, An: the delightful little branch, Charles Edward Stuart, a new growth from the dynastic tree. Later a moniker used by Douglas Hyde in connexion with the de-Anglicization of Ireland. Cromwell: carried in effigy, a sign of Jacobite sympathy by 1700. Crown, Cuius Est: Whose is it? A reference to the crown the very dubiety of the enquiry indicating loyalty to the Stuarts. Daffodils: hope, returning spring. Deer: symbol of kingship, sovereignty, fidelity and legitimacy in the Classical, Gaelic and Christian worlds, sometimes presented as a snake-eater and even as a symbol of Christ. In the mediaeval era, the stag is pursued by hounds which represent vices, and this symbolic tradition was utilized as a sign of the challenge to Charles I by John Denham in Cooper’s Hill in 1642, and was linked to the more long-standing image of the stag as an icon of fidelity in the Interregnum. These associations were also taken up by the enemies of the Stuarts. Just as Horace’s version of Aesop’s fable of the horse and the stag contrasted the stag’s frugality and liberty with wealth and slavery, so Scottish Jacobitism – drawing on the same nexus of what were originally Roman Republican ideas – could be used to contrast patriotic Scottish poverty with British slavery (and the horse of Hanover). (O) Diu desiderata Navis: (O), long-hoped for ship. The ship also featured prom- inently on touch-pieces, which extended the reference to metaphors of the soul’s pilgrimage over the ocean of life, the exile of the true faith and the sacral quality of Stuart monarchy. Dog: ‘every dog has his day’, a loose translation of ‘TANDEM TRIUMPHANS’, symbolizing the eventual victory of the Jacobites. The dog gnawing on a bone could presage Jacobite victory. Dolphin: on Sea Serjeants’ glasses; only doubtfully a Jacobite symbol. Doric: native identity, suggestive of northern valour and a restored Scottish cul- tural or parliamentary polity. The term was used by Allan Ramsay to refer to the Scots language, and this is the context in which it is still used (though now more particularly referring to the dialect of the north-east). Dragonfly: found on Jacobite glass, a delightful pun on ‘dragon fly’ (run away dragon) with an interior subordinated reference to ‘George and the Dragon’, 162 Appendix with the implication that the dragon would make George ‘fly’: a kind of inver- sion of English patriot discourse.
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