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On an unknown date in 1294, the former page of the late Danish King Eric V was put to death for regicide outside Roskilde.

Rane Jonsen or Jonsson (here’s his short Danish Wikipedia page) had been present at the hunt during which the former monarch, more popularly known as “Erik Glipping”, was murdered by unknown assailants in 1286.

The convention — and the official verdict of state — have it that Jonsen contrived to admit marsk Stig Andersen Hvide and fellow conspirators to the vulnerable king’s presence for the purpose of murdering him, possibly revenging the king’s rape of Andersen’s wife. “Marsk Stig” and Rane both fled, and were condemned along with seven other men by the Danish Assembly in the spring of 1287.

Although there is little remaining primary documentation, it does seem that the guilt of these people was decided above all by political expedience. It was Stig Anderson’s opponents who got control of the government (and the regency of 12-year-old Erik Menved), conveniently declaring the guilty parties to be their own rivals, who had formerly been close to Erik Glipping.*

Our page, himself a noble, got the short end of the stick in all this; he energetically denied the story that he had stood aside to permit the murder of his liege, claiming that he fought back albeit unarmed and outnumbered.

But as an emblem of the perfidy of the king’s inner circle, you couldn’t do much better than Rane theatrically planting his sword into a table and standing aside to signify the king’s vulnerability. You can just picture that story being retold with a meaningful ahem to the boy-king Eric VI.

In fact, it was retold: wrongful conviction or no, this episode (in its official version, with Rane and Stig as evildoers) was the basis for a number of entries in the rich Danish ballad genre.

Though popularly cited as medieval ballads, disputed dating places different verses anywhere from Rane Jonsen’s own time to three centuries later.** In any era, they offer some lovely exemplars of the art.

This book reproduces several; topical for this entry is an imagining of the fugitive regicide’s plight, both sad (for his hopelessness) and menacing (for his violent seizure of a bride) — disconcertingly delivered in a repetitious lullaby singsong.

Ranild bade saddle his charger gray,
‘Twas told me oft before,
“I’ll be the Algrave’s guest today,
“Tho’ friends I have no more.”

Ranild rode up to his castle gate
‘Twas told him oft before
Where ermine-clad the Algrave sate,
Tho’ friends he had no more.

“Hail noble Algrave, here I come,
‘Twas told thee oft before
“To fetch my trothplight Kirstin home,
“Tho’ friends I have no more.”

Then up and spake her mother dear,
“‘Twas told thee oft before,
“For thee is bride no longer here,
“For friends thou hast no more.”

“I’ll either with the maid return,
“‘Twas told you oft before
“Or else your house and chattels burn,
“Tho’ friends I have no more.”

“Nay set not thou the house on flame,
“‘Twas told thee oft before,
“E’en take the bride thou ‘rt come to claim,
“Tho’ friends thou hast no more.”

In mantle wrapt the gentle maid,
‘Twas told her oft before,
On Ranild’s good gray horse was laid,
Tho’ friends he had no more.

No other bridal bed had they,
‘Twas told her oft before,
Than bush, and field, and new made hay,
For friends he had no more.

“The wood has ears, the mead can see,
“‘Twas told thee oft before,
“A wretched outlaw’d pair are we,
“For friends I have no more.”

“And had you not King Erick slain,
“‘Twas told you oft before,
“We still might in the land remain,
“But friends we have no more.”

“Stay, Kirstin, stay, such words forbear,
“‘Twas told thee oft before,
“Where strangers are, take greater care,
“For friends we have no ore.”

With that he slapp’d her cheek so red,
“‘Twas told thee oft before,
“It was not I, smote Erick dead,
“Tho’ friends I have no more.”

From the same source, our day’s principal meets his end:

Report is rife in all the land
Ranild at last is caught;
He surely had never gone from Hielm,
His doom had he bethought;
A death of torture he must die,
As he has long been taught.

Ranild he stepp’d within the door,
‘Good evening’ bade the king,
And all the guard of gentlemen,
Who round him stood in ring;
“Christ! may no son of loyal Dane
“Such trouble on him bring!

“But, O King Erick, noble liege,
“Remember you no more;
“The best was I of all the swains
“Your father’s livery wore;
“And you through wood and flowery mead
“In arms so often bore?”

“Full well I know thou servedst here
“For clothes and food and pay;
“And, like a vile and treacherous knave,
“My father didst betray;
“For which the stake thy carcase bears,
“If I but reign a day.”

“My hands and feet hack from my limbs,
“Tear from my head these eyes;
“With racking tortures martyr me,
“The worst you can devise;
“So much the wrong I’ve done your house
“For vengeance on me cries.”

“Thine eyes put out, that will we not,
“Nor lop thy hands or feet;
“But with a traitor’s hardest death
“The worst of traitors treat;
“And on our father’s murderer take
“Such vengeance as is meet.”

As forth from Roskilde he was led,
He wrung his hands anew,
And tears to see him go to die
Wept ladies not a few;
He turn’d him round, and bade them all
A thousand times Adieu.

They led him forth to where the rack
Stood ghastly on the plain;
“O Christ, from such a martyring death
“Protect each honest Dane!
“Had I but stay’d at Hielm this year,
“And there in safety lain!

“Now were there here one faithful friend,
“Who home for me would go,
“And would my sorrowing wife Christine,
“Her path of duty show!
“O Christ, look on my children dear!
“O comfort thou their woe!

“And you, I pray, good Christian folk,
“Who here are standing round,
“A pater noster read for me,
“That grace for me be found;
“And that this night I reach the land,
“Where heavenly joys abound.”

Marsk Stig, however, is the primary focus of these dramas; he raided shipping from his island base on Hielm (Hjelm), dying of natural causes in 1293. Some additional translated ballads about this character are available here.

But since this is poetry, take a moment to dig the original Danish,† which should be at least partially comprehensible to any English- or German-speaker.

* Discussed at length in “Killing Erik Glipping. On the Early Days of a Danish Historical Ballad” by William Layher in Song and Popular Culture, 45, 2000. Layher reports that the Norwegian government (which received the fugitives) and the Danish were still trading nastygrams over the propriety of the convictions in the early 1300s. On the instigation of the Archbishop of Lund, who supported the exiles, the Church interdicted sacraments to Denmark for several years around the turn of the century.

** See Layher again. At least one contemporaneous bard, minnesinger Meister Rumelant, is known to have composed on the famous murder.

† Extract and translation from Layher, once again.

Part of the Themed Set: The Ballad.

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May of 1297 marks the first appearance in the historical record of Braveheart hero William Wallace … so we mark today the undated (and presumably fictional) execution/murder of his wife that, by the most cinematic account possible, set Wallace on his own path to the scaffold.

The face that lifted a thousand claymores: Catherine McCormack as Braveheart’s version of Marion, Murron MacClannough. Murron’s “execution” inspires William Wallace.

Marion (or Marian) Braidfute, she’s called by the Scottish poet Blind Harry in the epic dating near two centuries after famed rebel’s rising. Not wanting audiences to confuse her with Robin Hood sweetie Maid Marian, the Braveheart script renamed her Murron MacClannough.

In Mel Gibson’s gory silver screen epic, Wallace is, at this point, a determinedly apolitical commoner — a stance contrasting markedly with a backstory of nationalistic identity-forming experiences, like having his father and brother killed by the English. He’s radicalized only after his attempt to protect Murron from rape results in her demonstrative summary execution.

And of course, Wallace then wreaks a bloody revenge (complete with summary execution of his own) that soon has the country in flames.

Hollywood’s avenging-his-woman angle exploits a folkloric embroidery of a female character perhaps created by Blind Harry, writing in the 15th century. In “The Wallace”, the titular hero is already well along his conflict with the English crown when he weds Marion — whose story arc differs greatly from that of the peasant eye candy Mel Gibson taps. In the poem, Marion is exposed to the vengeance of the Sheriff of Lanark, William Heselrig, when Wallace goes off to fight and refuses to take her along.

Now fierce with Rage the cruel Foe draws near,
Oh does not Heaven make Innocence its Care!
Where fled thy guardian Angel in that Hour
And left his Charge to the fell Tyrant’s Power,
Shall his fierce Steel be redned with thy Gore
And streaming Blood distain thy Beauties o’er?

But now awaken’d with the dreadfull Sound
The trembling Matron threw her Eyes around,
In vain alace were all the Tears she shed
When fierce he waves the Fauchion o’er her Head
All Tyes of Honour by the Rogue abjur’d
Relentless deep he plung’d the ruthless Sword;
Swift o’er her Limbs does creeping Coldness rise
And Death’s pale Hand seal’d up her fainting Eyes.

Wallace slays Heselrig the next day, according to the poem — the actual historical event of May, 1297,* that marks Wallace’s emergence from the dim fogs of history. (In the film Braveheart, the chronology is unstated, but Wallace is revenged before Murron’s burial.)

John of Fordun, writing in the 14th century, tells the tale.

The same year William Wallace lifted up his head from his den — as it were — and slew the English sheriff of Lanark, a doughty and powerful man, in the town of Lanark. From that time, therefore, there flocked to him all who were in bitterness of spirit, and weighed down beneath the burden of bondage under the unbearable domination of English despotism; and he became their leader. He was wondrously brave and bold, of goodly mien, and boundless liberality … So Wallace overthrew the English on all sides; and gaining strength daily, he, in a short time, by force, and by dint of his prowess, brought all the magnates of Scotland under his sway, whether they would or not.

* “In the month of May the perfidious race of Scots began to rebel.” (Walter of Hemingborough)

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