Nancy Stair: A Novel — Edition Insights

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Lane, Elinor Macartney, 1864-1909 Project Gutenberg 2009 Not confirmed
Young women -- Fiction; Scotland -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 78,334
Reading time 341 min
Text sections 9

This digital edition of Nancy Stair: A Novel — Edition Insights is described by source-level measurements including 78,334 words, 5 hr 41 min estimated reading time, and 9 detected text sections.

The text analysis averages about 23.4 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Young women -- Fiction,” connecting these edition facts with the source record’s subject description.

A framed narrative by Lord Stair recounts the life of Nancy Stair, a gifted woman in 18th-century Scotland, intertwining her poetic talent, a murder mystery, and her relationship with Robert Burns, as revealed through intimate personal knowledge.
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Editorial Edition Score 4.7/5

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  • Title & short description10 pts
  • Source metadata20 pts
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Read the Text

This was an entirely unnecessary attention on Huey's part, as Sandy Carmichael, whose estate of Arran Towers joins my own on the west, generally opened the door of Stair for himself, or the windows either, for the matter of that, if the latter were more convenient entrance from the place he happened to be.

My recollections of Sandy begin with my recollections of myself. As lads together, indeed before we were long out of skirts, we guddled for fish in the burn-water; went birds' nesting, raced our ponies, fought each other behind the stables and made a common stock of our money for the purchase of dimpies, peoys and jelly-tarts. We attended the High School together and upon leaving it chose the same college, where Sandy ran a merry pace, throwing his money out of the windows, as it were, and gaining for himself the reputation of wearing more waistcoats, drinking more whisky, making love to more women, and writing better verses, than any other man in the University.

He was a big, athletic, clean-limbed fellow, with brown hair, a bright face, warm eyes, and friendly genial ways which came from the kindest heart in the world. Five years before the time of which I write, which would be in 1763, he had married the Honorable Miss Llewellyn from the north, a pitiable pale-colored lady, who, half crazed by jealousy and ill health, was sending him back to unmarried ways again. Being only sister to Lord Glenmore, who had no heirs and was subject to seizures of a very malignant type, it was yearly expected that the title would come to Sandy's bit of a boy, a handsome-faced little fellow of four, who paid me long visits at self-selected times, demanding my watch, a pipe to smoke, and horses to ride.

Before Huey had time to reach the door, Sandy, in his riding clothes, with his cap on the back of his head, stood looking in at me. There was a scowl between his brows, and by this as well as other certain signs, I knew that all was not well with him.

"Will ye go on a cruise with me?" says he from the doorway with no introduction whatever.

"Would it be an unseemly prying into your affairs to ask where to?" I inquired with a smile.

"North or south," said he, still keeping his place by the door. "It's immaterial to me, so I escape accompanying my womenfolk to London."

"And if I go with ye," says I, "your wife will like me less than she does now."

"That would be impossible, so ye needn't worry over it," he returned dryly. "The only good word ye ever had from her was that if ye'd been a less handsome man ye might have been a better one."

"And even that could scarce be termed fulsome flattery," I observed.

"Will ye go!" he repeated, his mind set on the one point.

A sudden thought, bred of some news in the paper which I had just received, came to me upon the instant.

"Let us take the boat from Leith, and go north by the Orkney and Hebrides Islands, through the Minch to the west coast. There are all kinds of stories afloat concerning the gipsies and free traders who live in those deep coves; we might fall in with a pirate ship----"

"Or find a hidden treasure!" he said scoffingly, as he seated himself on the other side of the table and took some coffee, the frown gone, and the Sandy I knew with the bright face and laughing eye back again.

"Aye," he went on in his humorous way, "I am convinced 'twill be hidden treasure we'll find, Jock. We'll go ashore at midnight, and under a stunted pine will be a sailor's chest. Hidden treasures are always found in sailors' chests, ye know. And taking a three-foot bar of iron, which every gentleman in tales carries concealed upon his person, we, you and I,--none of the others, of course,--will pry this chest open--to find ducats and doubloons, and piastres, and sous-marquees--and a map of the Spanish Main and the Dry Tortugas--with crosses in blood. I'll tell you, ye can have my share of it now," he cried, laughing at me.

"Ye're over generous," says I, for jesting of this kind was a thing to which I was accustomed in him.

He dropped the raillery on the moment, however, to take a note-book from his pocket.

"Whom shall we ask?" he inquired in his natural voice.

Lord Stair opens his account by distinguishing it from prior biographies of Nancy Stair: Mrs. George Opie’s piece on her burnside work and Professor Erskine’s critical focus on her poetry. He claims a deeper purpose—to show how Nancy, raised with a man’s education and only male friends, solved “the problem put to every woman of gift” and entered “the kingdom of great womanhood.” This preface immediately signals that the novel will weigh intellectual ambition against social expectation.

Stair also promises to clear up a murder that long shadowed their household, a mystery he witnessed firsthand. The excerpts show him present at a quarrel, hearing shots, finding the dead, and later possessing a confession. The narrative thus intertwines a love triangle, a violent death, and a woman’s coming-of-age, all filtered through a narrator who is both intimate and defensive.

The Duke’s Confession: Ambition and Love

In a tavern scene, the Duke of Montrose lays bare his philosophy to Lord Stair. He describes remaking his body over four years, then using self-interest as a lever to rise. “I got my power by using the worst in men,” he admits, yet meeting Nancy Stair made him desire a better power. His proposal is a blend of calculation and infatuation: “I am as daft in my love for her as any schoolboy could be.” The duke’s language is theatrical—Lord Stair notes he spoke “as a play or great music might have done.” This contrast between cynical worldview and genuine feeling creates a tension that drives the plot.

The duke identifies his rival, Dandy Carmichael, as an obstacle not to be removed by violence, because killing him would lose Nancy forever. Instead, he plans to let Carmichael strike first. This strategic approach to love and enmity underscores the novel’s interest in how power, principle, and emotion collide.

Nancy’s Education and the Problem of Gifted Womanhood

Lord Stair emphasizes that Nancy was raised with “a man’s education, none but men for friends, and no counselings save from her own heart.” This upbringing sets her apart from conventional heroines. The epigraphs from Tennyson and Burns frame the central question: whether women are “diverse” from men or merely “undeveloped.” Hugh Pitcairn’s blunt line—“Ye can’t educate women as you can men”—is quoted as a counterpoint.

The excerpts do not show Nancy’s own voice directly, but the narrator’s focus on her “song-making” and her ability to “win at my own game” (as the duke puts it) suggests a woman who wields influence through intellect and art. The novel appears to test whether such a woman can reconcile public achievement with private happiness, without bitter renunciation.

The Murder Mystery and Narrative Reliability

Lord Stair presents himself as the sole person able to clear the mystery: he invited the duke to Stair, witnessed the quarrel, heard the shots, and later obtained a confession. Yet his account is also a defense of Nancy. He writes to correct earlier stories and to show her “intimate side.” This dual purpose raises questions about bias. The excerpts show him shaping events—for instance, he reports the duke’s words with theatrical flair, admitting he felt “raised out of my surroundings.”

The murder is not resolved in the provided text, but the framing suggests that the truth will emerge through Stair’s personal knowledge. Readers must weigh his version against the possibility that he omits or colors details to protect Nancy’s reputation. The novel thus becomes as much about the act of telling as about the events themselves.

Readers should attend to the layered narration: Lord Stair is both participant and apologist, and his motives for writing—clearing a murder, defending Nancy, and celebrating her womanhood—may not be entirely compatible. The excerpts offer a duke who is charmingly wicked, a heroine glimpsed only through others’ eyes, and a mystery that hinges on what is left unsaid. Watch for how the gaps in the narrative, especially around Nancy’s own choices, shape the story’s resolution.

The rain kept me inside with Nancy Stair, her verses and that dark secret settling like peat smoke. By evening, I wanted something lighter, and my hand drifted to The Wit and Humor of America, Volume VIII (of X) — Edition Insights. Different century, different cadence, yet both reminded me how wit can mask a wound. I read the last page and simply sat there, the window a gray mirror.

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