AMY ROBSART.
Another time-honored illusion is gone, and Amy Robsart descends into the grave like a respectable lady, instead of disappearing through a trap-door into a vault beneath and breaking her neck. So one by one the pleasant fictions over which in youth we lingered with such keen enjoyment, are stripped of their reality, and nothing but dull prose is left in their place. The pretty legend of Pocahontas, the venerable and patriotic one of William Tell, the ingenious mystification between the island of Juan Fernandez, Alexander Selkirk, and Robinson Crusoe, all have been cast down from their shrines. Nay, attempts have been made to remove Shakspeare himself into the region of myth, by representing that Lord Bacon was the veritable author of the plays and poems supposed to have been written by the great bard of Avon. No one need now despair of the disappearance of any time-honored personage or romance.
The name of Amy Robsart has always possessed a peculiar interest, not merely on account of the historical associations connected with her, but for the halo with which romance and poetry have invested her; and not the least strange feature of the case is the fact that historians should have so generally ignored the falsity of the legend. It had lain wrapped in its venerable mantle for more than three hundred years, until very recently, when public attention was forcibly called to the subject by an article published in the Oxford Undergraduates’ Journal, England. In a communication in that periodical, from the Secretary to the Oxford Architectural and Historical Society, there is a statement to the following effect: “The Rev. J. Burgon, the Vicar of St. Mary’s (Oxford), has caused an inscription to be cut on the top step of the three steps leading to the chancel of St. Mary’s Church, commemorating the site of the interment of the ill-fated Amy Robsart. The inscription is as follows: ‘In a vault of brick, at the upper end of this quire, was buried Amy Robsart, wife of Lord Robert Dudley, K. G., Sunday, 22d September, A. D. 1560.’” History tells us that the funeral was celebrated with great pomp: but previously to the ceremony, a coroner’s inquest was held on the body, and after a long and minute investigation of the circumstances, a verdict of “accidental death,” was returned. The character of the Earl of Leicester, (Lord Robert Dudley) her husband, was such as to raise grave doubts as to the mode by which she came by her death, and the popular belief that Queen Elizabeth was in love with him, and was willing to marry him, gave great countenance to the prevailing suspicion that he had kept his marriage a secret, and got rid of his wife to enable him to carry out his ambitious schemes. The historian, Hume, alludes to these reports, which, however, he derived from Camden, the antiquary, and which very probably originated in the political hostility and personal hatred of Cecil, Walsingham, and others of Leicester’s mortal enemies. Ashmole, in his work, The Antiquities of Berkshire gives the popular legend from which Sir Walter Scott derived many of the materials for his beautiful romance of Kenilworth.
Ashmole wrote his book about the middle of the seventeenth century, a hundred years after the fatal event at Cumnor Hall; he is, therefore, no authority on the subject; but William Julius Mickle, the poet, took him for one a century later, and turned the story into verse. And thus, between political hostility, personal dislike, the non-authenticated statements of historians, antiquaries, poets and novelists, it has long been accepted as an undoubted fact that Robert Dudley, Earl of Leicester, murdered his wife, or was accessory to her murder, at Cumnor Hall. But it has been very generally overlooked that his alleged main motive for the supposed murder could have had no existence. There is no doubt the Queen knew he was married, but she continued to disgrace herself by open professions of attachment to him notwithstanding; and after Amy’s sudden death, the inquest on her body, and her public funeral, “Good Queen Bess” was just as fond of him as ever, and showered such favors upon him as could have left him but little to wish for. He knew perfectly well that a marriage between himself and Elizabeth would have convulsed the kingdom, and probably cost him his life. He also knew that she had no real intention of parting with one iota of the royal power or prerogative, even to him, and hence the motive for the so-called murder falls to the ground, and with it the pathetic romance built upon it.