The legend respecting the substitution of another person at the stake, and the subsequent marriage of the Maid to Robert des Hermoises, has been treated by no less an iconoclast than M. Octave Delepierre, the learned Belgian Consul in England, in a volume (Doute Historique), privately printed. In the Athenæum for September 15, 1855, there is a complete analysis of the story, from which it appears that more than two centuries after the alleged execution of Joan, namely in 1645, Father Vignier found documents among the archives at Metz, which spoke of the presence and recognition of Joan in that city, five years after her alleged execution. The Father was then a guest of a descendant of Robert des Hermoises, in whose muniment chest he discovered the marriage contract of Robert and Joan. The matter was forgotten, when in 1740, documents were found at Orleans which recorded, among other things, a gratuity made to Joan in 1439, “for services rendered by her at the siege of the same city, 210 livres.” The tradition has many singular points, and is full of delightful uncertainty.
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.
WILLIAM TELL.
William Tell is very hard to kill. German writers in the last century demolish him, over and over again, but to little purpose. He remained the Swiss hero, and what is far worse, those hideous statues at Altorf continue to assert their undying ugliness, and pretend to prove, by their presence there, the truth of the story. The giant has been recently slain once more as an impostor. Once more? Half a dozen times; and each slayer takes himself for the sole and original champion. Swiss professors even have been at the work of demolition. Three or four years ago Mr. Baring-Gould, in his “Curious Myths of the Middle Ages,” set up a dozen of those myths, and bowled them all down at one bowl: he proved, as others had done, that the legend of William Tell was “as fabulous as any other historical event.” Mr. Baring-Gould, however, does more than some others have done. He traces the story as far back as it can be traced. This is the order of the tradition:—
1. In the tenth century a tippling, boasting Danish soldier, named Toki, swore he could drive an arrow through an apple, placed on the point of a stick, at a great distance. King Harald Bluetooth told the boaster that the apple should be placed on his son’s head, and if Toki did not send an arrow through it at the first attempt, his own head should pay the penalty. Toki performed the feat with perfect success; but Harald perceiving he had brought other arrows, demanded the reason thereof, and Toki replied that if he had injured his son he would have driven those other arrows into the King’s body. The story was first related by Saxo Grammaticus, in the twelfth century.
2. But in the eleventh century the above prototype of Tell had successors or imitators. King Olaf, the Saint of Norway, challenged Eindridi, among other things, to shoot with an arrow at a writing tablet on the head of Eindridi’s son. Each was to have one shot. Olaf grazed the boy’s head, whereupon the boy’s mother interfered, and Eindridi was withdrawn from the contest. Olaf remarked that his competitor had a second arrow, which Eindridi confessed that he intended for his Majesty if anything very unpleasant had happened to the boy.
3. A year or two later in this eleventh century, another Norse archer, Hemingr, had a match with King Harold. Harold set a spear-shaft for a mark in the ground. He then fired in the air; the arrow turned in its descent and pierced the spear-shaft. Hemingr followed suit, and split the King’s arrow, which was perpendicularly fixed in the spear-shaft. Then the King stuck a knife in an oak. His arrow went into the haft. Hemingr shot, and his arrow cleft the haft and went into the socket of the blade. The enraged King next fired at a tender twig, which his arrow pierced, but Hemingr’s split a hazel-nut growing upon it. “You shall put the nut on your brother Bjorn’s head,” said Harold, “and if you do not pierce it with your spear at the first attempt, your life shall be forfeited.” Of course the thing was done. Hemingr is supposed to have had his revenge by sending an arrow through Harold’s trachea at the battle of Stamford Bridge, where he fought on the English side.