The History of Court Fools

by Dr. Doran

I have in a previous page noticed the sharp wit of some of the ladies at the court of Catherine de Medicis. I may here add, that such wit was sometimes very sharply reprehended. Mr. Bayle St. John, in his biography of Montaigne, affords me an illustration of this fact, by there recording the circumstance of one of the maids-of-honour, Mademoiselle de Limeuil, who wrote a laughable satire on the Queen Catherine; by whom it was accounted but a sorry court jest, and the sprightly young authoress was well whipped, like any coarse male fool, for her pains. Mr. St. John records also a fact which proves that the jest of the “fou” was not always the most acceptable sauce at a royal banquet. The fact alluded to refers to Duchatel, who was originally in a printer’s office, was ultimately Grand Almoner of France, and who, as Mr. St. John tells us, was paid by the King to talk to him during meals.

It is a singular fact, that while Francis I., who had a great affection for jesters, was mentioned in the funeral oration pronounced over his remains, as a grave, learned, and philosophic prince, Charles IX., who cared nothing for those old, joyous appendages to court, and whose name is associated with everything gloomy and terrible, was celebrated in the sermon preached at his interment by Father Sorbin, as a prince at once tender-hearted and gracious, the bulwark of the faith, and the lover of men of wit: “piteux et débonnaire, propugnateur de la foy, et amateur des bons esprits.” Charles may be said to have been, in some measure, his own fool, for we hear of him figuring at a tournament, with a party of joyous followers, all of whom, King and courtiers, fought in the lists attired as women. Another of his court jests consisted in his hiring ten young thieves, whom he brought to the Louvre, where he set them to rob the guests of their swords, jewellery, and splendid cloaks, laughing heartily the while, as he witnessed their success, or saw the unconsciousness of the victims, or beheld their surprise and indignation, after they had been despoiled. These young thieves, who were amply rewarded for the exercise of their ability, rank among the most singular of hirelings paid to excite laughter in a gloomy king.

Henri III. was an especial patron of the “fou,” and some of the best specimens of the latter class figured at his court. The most renowned of these were Sibilot and John (or Sebastian) Chicot. The name of the former became, for a time, the generic name for a witty fool, and to be a “Sibilot” was to be a jester of the highest quality. It was even said of the aspiring and conspiring Duke de Mayenne, that he wanted only troops and a Sibilot to be as great a man as the King.

It was an act of this turbulent Duke of the house of Lorraine which first brought Chicot into notice. Cardinal Perron, in his ‘Perroniana,’ published at Cologne, 1694, speaks in high praise of this Gascon gentleman; for the latter was De Chicot, and proud of the prefix, before he descended to plain Chicot, and became “fou du Roi.”

Like most Gascons, Chicot was poor; but he seems to have first repaired to court not so much with the intention of pushing his fortune as seeking protection against the manners and rough usages of the Duke de Mayenne, who looked with favour on a lady who was the object also of the homage of the tall and humorous Gascon. The mirth inspired by the sallies of Chicot soon attracted the notice of the King, and the quaint fellow speedily discovered that he might turn his wit to more profitable use at the Louvre and at Fontainebleau than he could his industry devoted to any professional pursuit in Paris. The last biographer of Chicot, in the ‘Nouvelle Dictionnaire Biographique,’ refers to the portrait of the celebrated buffoon drawn by Dumas, in his ‘Dame de Monsoreau,’ as preserving the traditionary features of Chicot’s manners, aspect, and character. In the work just named, the author adopts the tradition of the love-affair, in which the Lorrainer and the Gascon were rivals; and M. Dumas further intimates that when Chicot became official jester he found solace for his disappointment, in mimicking the manners of his master. To the buffoon who would stand with his cheeks puffed out, and his hand on his side, the nobles would pay court as to the true King, while Chicot feigned to treat the latter as his jester. If the nobles winced under the sarcastic speeches of the “fou,” and threatened vengeance, Henri would protect him, in his character alike of fool and gentleman; and in return, Chicot took an infinite delight in countermanding orders issued by Henri; and, standing at the King’s toilette, thought nothing of dipping his fingers into the monarch’s perfumed cream, and tearing the royal combs through his rough beard. It was only when Henri was religiously scourging himself, and when Chicot was consequently most inclined to jest, that the sovereign would tolerate no ribaldry. At those times, the buffoon might, if he liked, go and fight duels, whips being the weapons, with gentlemen who had too much leisure and too little pastime. Or he would resort to some tavern outside the barrier, swallow delicious teal with crab-sauce, address himself to joyous drinking, and return to court when it suited his caprice; for Chicot seems to have been exempt from the rule by which the French official fool was bound to remain within the precincts of the palace.

At times, the King would appeal to Chicot, not as his jester, but as a man of sense, and his friend. Chicot, on the other hand, would make suggestions worth adopting, and quote from books in support of his advice or opinions. The familiarity of the two was so great, that they often slept in the same room; and by day travelled in the same litter, drawn by half-a-dozen mules, or where the roads were difficult, by as many oxen. The state in which King and fool journeyed is thus admirably sketched by Dumas, in the work mentioned above. “The litter contained Henri, his physician, his chaplain, the jester, four of the King’s ‘minions,’ a couple of huge hounds, and a basketful of puppies, which rested on the King’s knees, but which was upheld from his neck by a gold chain. From the roof hung a gilded cage, in which were white turtle-doves, the plumage of their necks marked by a sable circlet of feathers. Occasionally, two or three apes were to be seen in this ‘Noah’s Ark,’ as it was called,” some of the inmates of which used to amuse themselves by plaiting ribbons, while Chicot made anagrams on the names of the courtiers.

Able as Chicot was in this respect, and expert in quoting Marco Polo, Galen, and sentences from the Breviary, it may, of course, be questioned whether he was so skilful in his dramatic plottings and counter-plottings against the traitorous Guises as M. Dumas has represented him to be. He probably did not meddle in such serious affairs; and I think the ability of the jester is set too high when he is exhibited in positions that would puzzle a Machiavelli, in disguises that have a very melodramatic tone and aspect, and in situations of peril from which he releases himself as dexterously as the virtuous hero of a transpontine semi-tragedy. Chicot, indeed, was well qualified to effect his release from any peril where odds were not very strongly against him, for the jester was in the habit of daily fencing with the King, and bore the reputation of being one of the best swordsmen in the kingdom. He could apply his cunning of fence to excellent purpose; and if, half in sport, he would engage with noble courtiers in a fight with whips, there was no man, at once insulted, vindictive, and self-possessed, who could more politely and fatally pass his sword through the body of the individual from whom he had suffered wrong. The tongue of Chicot could be as sharp as his sword, and it inflicted, perhaps, more exquisite torture on the nobles whom he hated or the courtiers whom he despised, than if he had passed his blade between the ribs, which he would “poke” with as much audacity as he used when, seating himself on the same royal chair with the King, he would call him Henriquet, and greedily devour the dainties presented to his master. At the council-board too Chicot was often present, where his wit worked as profitably as that of any grave-looking member present; albeit, while he enunciated his profound political maxims, he was perhaps engaged in making paper boats, and arranging them into a fleet. On the most serious occasions, a sally from Chicot at the head of the table, would cause the King to laugh. Solemn statesmen would then look grave, and while the royal laughter was yet pealing, Chicot would utter a stentorian “Silence there!” which would cause the King to suddenly close his mouth, and the councillors to open theirs, moved, in spite of themselves, to lively hilarity.

By way of sample of what was then probably considered a rather neat joke, and showing how Henri profited by being constantly in company with Chicot, I may cite the traditionary incident of the monk preaching from the back of an ass. “Which is the preacher?” said the King, “for they both speak at the same time.” “The one beneath is the most eloquent,” replied Chicot, “but the uppermost one speaks the best French.” The power wielded by this influential buffoon is also indicated by M. Dumas, in the observation made by the former when he learns a most important State secret which he resolves to keep to himself. “Why should I communicate it to any one else?” said he, “Is it not I who am King of France?” He had mimicked his master so often, that he almost thought himself king;—like Elliston when, in tipsy majesty, he represented George IV. at the Drury Lane coronation, and hiccupped benedictions on the heads of his laughing subjects in the pit. With Chicot, however, the case was less imaginary; for when Henri was about to take a fatal step, a sign from the jester would set him right, and the gentleman buffoon might then have been justified in exclaiming, “Did I not say rightly, that I was the real King in France?” We may fancy him, on his long legs, saying this, and by raising himself, looking longer than ever.

Here is not quite an imaginary picture of the wisdom of the “fou,” as he looks over a chess-board at which he is sitting alone, meditating the while on the dangers threatening Henri III. To one who questions him, he replies, “I am disquieted about the King. At chess, you see, the King is but an insignificant personage. He has no will of his own; can only move one step forward or back; one step to the right or to the left, while he is surrounded by foes on the alert; by knights who jump three squares at a time; by a mob of pawns, who close round him; and if he be only ill-advised, he is a lost and ruined king in no time.”

It is the great merit of Chicot, if Dumas has painted him faithfully, that he was not merely the “plaisant” of the King, but his protector. He could be, and ordinarily was, indifferent and sarcastic in look, speech, and general demeanour; but this gentleman-jester, with a sword on his thigh, and a duty to perform to Henri, could also be as eloquent, and put on an air as noble as any great man with countless quarterings on his shield. We may conclude, from the limning of the traditionary portrait in the ‘Dame de Monsoreau,’ that if Chicot loved his jest well, he loved his king (worthless as he was) even better.