Charles Edward Stuart is one of the most romanticized figures in Scots history - more kitch history has been made of Bonnie Price Charlie than virtually anyone else in the eighteenth century. As Forster makes clear from the outset, he was far from romantic in real life: he beat his mistress, he was paranoid, vain, profligate, often drunk (especially in his late years), politically inept and utterly deluded as to his future prosects. In this narrative, we follow Charlie through all the phases of his odd life: upbringing in Rome, life in Paris, arrival in Scotland in 1745, initial triumph at Prestonpans, the march on England, the retreat, defeat at Culloden, life on the run in the Hebrides, escape to the Continent, then gradual decline and relative obscurity back in Italy. Forster's pen is sure; she has had access to the Stuart's family papers, and her grip on the era and general understnading of eighteenth cenruty Europe is superb. There are some truly odd things about Charles' life: why, for instance, did he so flippantly abandon Catholicism AFTER 1746, when an earlier conversion to Protestantism would have aided his cause in the uprising - whereas a later conversion simply damaged his chances of winning Papal recognition as King of England? Yet there are inspiring things too: his poise and bravery in 1745, his ability to inspire loyalty, his elusion of his Hanoverian pursuers in 1746 (special thanks here to Flora MacDonald), are to his everlasting credit, notwithstanding his later failngs. Charles' psychological problems seem to stem from one essential truth: his entire life's predicament (as king-in-exile) was bizarre. The central and irrefutable fact of Charles' existence was that he was, by any legal definition, the rightful and direct male heir to the English and Scottish thrones; yet save perhaps for a few fleeting months in 1745, he was never accepted as such. In other words, since the world refused to behave normally, small wonder that Charles himself never could. In this context, perhaps Forster's verdict, while magnificently rendered, is somewhat harsh.
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