The story revolves around the imprisonment under false pretenses by Bolshevik agents of an exiled Russian noblewoman. The Scottish local community mobilises to uncover and thwart the conspiracy against her, and to defend the neutrality of Scotland against the Russian revolutionary struggle. A plot based on espionage and covert violence is set against the seemingly tranquil Scottish rural backdrop, a narrative device commonly found in Buchan s novels. He uses this notably in The Thirty Nine Steps. The novel contrasts the domestic characters, heroes and villains, with their more alien Russian counterparts. Huntingtower is characteristic of Buchan s novels, particularly in its class-based paternalism; its xenophobic prejudices, which are mitigated by instinctive humanity and dry humour; and its shrewd common-sense understanding of personality and motivation. We see Buchan's class based paternalism in the attitudes of various characters, from Saskia's insistence on pointing out the former status of her Russian family to Phemie Morran's lifelong loyalty to the extinct Kennedy family, to whom she was once a domestic servant. Heritage and McCunn instantly react to the first foreign resident of Huntingtower, a man called Leon, whose unwholesome appearance Buchan describes with relish:
"He was a sturdy fellow in a suit of blackclothes which had not been made for him. He might have been a butler en deshabille, but for the presence of a pair of field boots into which he had tucked the ends of his trousers. The curious thing about him was his face, which was decorated with features so tiny as to give the impression of a monstrous child. Each in itself was well enough formed, but eyes, nose, mouth, chin were of smallness curiously out of proportion to the head and body. Such an anomaly might have been redeemed by the expression; good-humour would have invested it with an air of agreeable farce. But there was no friendliness in the man s face. It was set like a judge s in a stony impassiveness." Huntingtower chapter three.
The moment when Dickson McCunn relinquishes his timid wish to remain strictly inside the law and decides to take a hand against the foreign conspirators gives an ironic insight into McCunn's social conditioning, whereby the veranda is an acceptable way to break into a house and the coal hole is unacceptable.
"They both looked at Dickson, and Dickson, scarlet in the face, looked back at them. He had suddenly found the thought of a solitary march to Auchenlochan intolerable. Once again he was at the parting of the ways, and once more caprice determined his decision. That the coal-hole was out of the question had worked a change in his views, Somehow it seemed to him less burglarious to enter by a veranda. He felt very frightened but for the moment quite resolute.  I m coming with you,  he said." Huntingtower chapter five.
In this novel Buchan creates characters across a broad spectrum of Scottish social classes and backgrounds, and while no one except McCunn is presented in great depth, we are given sharp and revealing character sketches of other key characters. Heritage s single handed defence of the actual tower and his attempt to free-climb away from the burning building show not only his actions but his reasons and thinking, why he is doing what he is doing. Wee Jaikie's inner life is only hinted at occasionally, but his dogged perseverance and resourcefulness come through at several moments when his interventions are important. In the final resolution of the story, a band of adventurers ranging from an injured laird and his faithful menservants to a group of semi-outcast street urchins from Glasgow have bonded and have combined to fight for a common purpose, out of belief in right and wrong, and allegiance to Scotland.
Output: Who decides to break into a home?