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On this date in 1652, James Hind, a highwayman who preyed on Roundheads, was drawn and quartered for treason.

Famed throughout the realm for his dashing heists on the roads, Hind was the subject of no less than 16 printed pamphlets of the nascent popular press in the early 1650’s, which magnified brigand’s feats, oratory and persona into a sort of populist Cavalier superhero: Marvel Comics for the woodcut age.

The highlights of Hind’s adventures receive rapturous attention from the Newgate Chronicles:

• Setting upon Oliver Cromwell shortly after the execution of Charles I, his partner Thomas Allen being taken in the affray;

• An amusing duel of Biblical citations while robbing regicide Hugh Peters, resolved in the characteristic manner of such impasses by reference to which disputant holds the gun.
  

  “Pray, sir, make no reflections on my profession; for Solomon plainly says, ‘Do not despise a thief’; but it is to little purpose for us to dispute. The substance of what I have to say is this: deliver thy money presently, or else I shall send thee out of the world to thy master in an instant.”

• Any number of pleasing episodes with lesser personages suitable for the gallant highwayman — ladies charmed but un-pillaged, paupers subsidized, and always, wicked Parliamentarians chastened. Several excellent Hind anecdotes are gathered by Gillian Spraggs here.

As to the veracity of this stuff, the Captain himself suggests a pinch of caution.

A Gentleman or two, desired so much favour of [the gaoler], as to aske Mr. Hind a civil question; which was granted. So pulling two books out of his pocket, the one entituled, Hind’s Ramble, The other Hind’s Exploits, asked him whether he had ever seen them or not: He answered, yes; And said upon the word of a Christian, they were fictions: But some merry Pranks and Revels I have plaid, that I deny not.

But Hind’s adherence to the Stuart cause was real enough, or at any rate something he had the 17th century media savvy to play up. At his execution, he professed pleasure in having targeted Roundheads for most of his crimes, and it was not theft that saw him to the scaffold, but treason. He made free royalist talk upon his arrest, proposing a toast to the exiled king that otherwise sympathetic guests were too cautious to take up.

Hind fits symbolically into the tradition of the romantic outlaw of Robin Hood stock, and anticipates the 18th century rogues’ gallery of noble brigands fighting a doomed rearguard against capitalism. Hind’s acts, criminal by any standard, are justified by the illegitimacy of the society he preys upon; he embodies at once a social and political rejection of the nascent mercantile England, and a biographical realization of its actuating mythos — personal aptitude and acquisition,* with a cover story for why his victims had it coming.

Neither did I ever wrong any poor man of the worth of a penny: but I must confess, I have (when I have been necessitated thereto) made bold with a rich Bompkin, or a lying Lawyer, whose full-fed fees from the rich Farmer, doth too too much impoverish the poor cottage-keeper: And truly I could wish, that thing were as little used in England amongst Lawyers, as the eating of Swines-flesh was amongst the Jews.

A dead-end position — just like James Hind himself.

* In a supposed rhapsody over gold forced from the hand of John Bradshaw — yet another regicide; Hind seemingly met them at every turn — our robber rather has his cake and eats it too in extolling and condemning lucre.

Ay, marry, sir, this is the metal that wins my heart for ever. Oh! precious gold, I admire thee as much as Bradshaw, Prynne or other such villains, who would for the sake of it sell our Redeemer again, were He now upon earth.

Also On This Date

• 1749: Antonio Camardella

“You will be hanged by the neck, Billy, until you are dead, dead, dead!”

“You can go, Judge, to hell, hell, hell!”

We have no source for whether William Bonney’s reply to the judge who sentenced him to hang was vindicated by the Almighty. But the judge’s sentence, due to be executed this day, assuredly never came to pass: two weeks before, Billy the Kid effected the last of his famous escapes.

The exploits of this legendary gunfighter — and his legend rather exceeds his exploits — are exhaustively chronicled online. The Manhattan-born Kid, a pup of 21 at his death, was a gunfighter in the Lincoln County War, a fight between two frontier magnates. Billy counted himself among the Regulators, a deputized posse (so it claimed, by way of legality) that was the armed militia of a murdered rancher.

Billy’s winning way with the press after his capture helped endear him to popular imagination, even after he was condemned in Mesilla, New Mexico for ambushing a lawman.

Here’s how Emilio Estevez played the crime in Young Guns:

On April 28, in a building that still stands in Lincoln, New Mexico, Bonney got the drop on one of his guards and high-tailed it out of town.

Though spared the ignominy of the gallows, Billy the Kid would not long outlive his judicially appointed hour. Lincoln County sheriff Pat Garrett found and killed the fugitive a few months later.

Ironically, this transaction darkened the reputation of the successful officer of the law — the circumstances of the killing were ambiguous, and seem less than honorable to some — while helping valorize the young outlaw who by all rights should long since have been at the end of a rope. And for this, maybe Billy’s shade has stood Garrett’s a drink or two, because a shadowy and youthful disappearance from the scene helped catapult Billy into folklore that has long outlasted the forgotten Lincoln County War.

Billy the Kid — even the name evokes the American self-image with perfect pitch — has come to so fully embody the floating signifiers of the Wild West, of America in its adolescence, that around the same time Bob Dylan composed “Knockin’ on Heaven’s Door” for the clip above (the 1973 film Pat Garrett and Billy the Kid), Billy Joel took the gunslinger for an all-purpose western motif in “The Ballad of Billy the Kid”. Joel’s song’s describes a life that seems to be just what the listener thinks it ought to be while remaining factually untrue of its titular character in almost every particular, including, in his version, a picturesque death by hanging:

The ballad form of romanticized narrative poetry suits our elusive subject well. Skip music and cinema a generation ahead and we have Guns n’ Roses covering “Knockin’ on Heaven’s Door” and power balladeer par excellence Jon Bon Jovi climbing the charts with this signature hit from the Young Guns II soundtrack:

Also On This Date

• 1880: Edwin Hoyt, in Bridgeport