Wha'll be King but Charlie? - Classic Text | Alexandria
"Wha'll be King but Charlie?" - A Jacobite Song by Carolina Oliphant, Lady Nairne
"Wha'll be King but Charlie?" is a significant Jacobite song written by Carolina Oliphant, Lady Nairne (1766-1845), that captures the passionate loyalty to Charles Edward Stuart (Bonnie Prince Charlie) during the Jacobite movement of 18th-century Scotland. The song, composed in the Scots dialect, represents both a political statement and a cultural artifact of Scottish nationalist sentiment.
First published anonymously in the early 19th century, the song emerges from the rich tradition of Jacobite music that flourished in the aftermath of the failed 1745 uprising. Lady Nairne, writing nearly half a century after the events it describes, crafted the piece as part of her larger body of work preserving and romanticizing Scottish cultural heritage. The song's creation coincided with a period of growing interest in Scottish history and folklore, particularly during the era of Sir Walter Scott's influential writings.
The composition features a compelling mixture of political allegiance and romantic idealization, with its chorus "Wha'll be King but Charlie? / Wha'll be King but Charlie? / The right's divine, in Charlie's line, / And wha'll be King but Charlie?" becoming a rallying cry that transcended its historical moment. Lady Nairne, who often wrote under the pseudonym "Mrs. Bogan of Bogan," deliberately cultivated an air of mystery around her authorship, reflecting both the period's gender expectations and the lingering political sensitivities surrounding Jacobite sentiment.
The song's enduring legacy lies in its dual nature as both a historical document and a piece of artistic expression. It continues to be performed and recorded, serving as a touchstone for discussions of Scottish identity, political loyalty, and cultural memory. Modern interpretations often focus on its role in the broader context of Scottish folk music revival and national identity formation. The song raises intriguing questions about the intersection of personal conviction, political ideology, and artistic expression in times of historical upheaval, while its anonymous publication and subsequent attribution to Lady Nairne exemplify the complex role of women in preserving and shaping cultural heritage.