All Lands are Homelands: a Headscarf Debate

I once knew a woman who longed to return to her country of birth, Canada, even after receiving this scarf as a present. It was intended as a joke, but, overwhelmed as she was by sentiment; she found it whimsical, much to her family’s chagrin. A friend of a friend of a friend of hers had once retrieved it from musty heaps of second-hand items, and so began its long trajectory through the closets and drawers of acquaintances and strangers, until it eventually found its way into her most secluded stash of usable items which lay safe and untouched.

To my knowledge, she never did wear the scarf, being far too fashion-conscious to do so. I on the other hand was willing to tie it around my brow and neck, in pursuit of an elegant Moslem headscarf style avant la lettre, and pose as an eager listener while she recited the poem that had become her favorite rallying cry for return to one's homeland: this excerpt from Scotland’s Sir Walter Scott’s The Lay of the Last Minstrel:

Breathes there the man, with soul so dead,
Who never to himself hath said,
This is my own, my native land!
Whose heart hath ne'er within him burn'd,
As home his footsteps he hath turn'd,
From wandering on a foreign strand!

I had learned at an early age to try and make her laugh, but not even my absurd posturing in an irreverent headdress could mask the grim shift in tone of this recitation, challenging to any listener within the first sixteen lines:

If such there breathe, go, mark him well;
For him no Minstrel raptures swell;
High though his titles, proud his name,
Boundless his wealth as wish can claim;
Despite those titles, power, and pelf,
The wretch, concentred all in self,
Living, shall forfeit fair renown,
And, doubly dying, shall go down
To the vile dust, from whence he sprung,
Unwept, unhonor'd, and unsung.

I understood that profound ties were being put to the test with these words, uttered in the original version not by the last Mohican but by ‘the last Minstrel.’ Sure enough, a celebratory tone enters this early ode to patria:

Not scorn'd like me! to Branksome Hall
The Minstrels came at festive call;
Trooping they came, from near and far
The jovial priests of mirth and war;
Alike for feast and fight prepar'd,
Battle and banquet both they shar'd.
Of late, before each martial clan,
They blew their death-note in the van,
But now, for every merry mate,
Rose the portcullis' iron grate;
They sound the pipe, they strike the string,
They dance, they revel, and they sing,
Till the rude turrets shake and ring.

More colourful details are supplied on the intimate mingling of the revelers, and, while she would have read those in private and blushed in public, anyone fishing for the core idea of home could skip over the rest. She thought she longed for Canada, when in fact her poignancy led her back to the people who had raised her on the nectar of homesickness, the people who harked back to their own native land, Scotland.

The woman began reciting these verses like a sermon. On gentler days, the verses were chanted like a prayer. Everyone knew that she expected you to eventually agree with the idea. No one could foresee that she would pick up and go home, and, having arrived, perhaps more upset by the first verse than anyone ever knew, would take her own life. Everyone carried on; we all learned the poem and longed for the homelands of all mothers; we swapped stories about the woman's other peeves: bullying in politics and society; the drab and claustrophobic landscapes in local villages, all built with money by the new post-war bully who bothered her the most. This could explain why she was not amused by the scarf.

I don't anticipate being able to uncover details on the origins of the scarf – the tags with shredded corners lost almost all faded print long ago. If you take a closer look at the scarf, you will see (deliberate) Anglo-misspellings of the French word ‘oui,’ dating this probable souvenir item to a time in Canada’s history when the French language was still struggling for recognition.