Category Archives: Fictional

1415: Bardolph, Hal’s friend

Posted on by

On this date in 1415, on the eve of the Battle of Agincourt, the young English King Henry V approved the execution of his onetime boon companion Bardolph in William Shakespeare’s Henry V.

The fictional Bardolph had been the ruddy-nosed friend of Henry’s in the Henry IV plays (Part 1, Part 2), where the hard-drinking, rabble-rousing young prince is a disappointment to the father who fears his heir will never merit the throne.

By Henry V, the boy has become the ruler, and launched an audacious incursion into France during the Hundred Years’ War.

Hal’s willingness to own the rough decisions of statecraft — in this case having his friend put to death further to his win-French-hearts-and-minds policy — is part of his coming of age as Henry V.

Whether that means Hal’s maturation into regal dignity or the corruption of his humanity by power is up to the reader.

KING

How now Fluellen, cam’st thou from the Bridge?

FLUELLEN

I, so please your Maiestie: The Duke of Exeter
ha’s very gallantly maintain’d the Pridge; the French is
gone off, looke you, and there is gallant and most praue
passages: marry, th’ athuersarie was haue possession of
the Pridge, but he is enforced to retyre, and the Duke of
Exeter is Master of the Pridge: I can tell your Maiestie,
the Duke is a praue man

KING

What men haue you lost, Fluellen?

FLUELLEN

The perdition of th’ athuersarie hath beene very
great, reasonnable great: marry for my part, I thinke the
Duke hath lost neuer a man, but one that is like to be executed
for robbing a Church, one Bardolph, if your Maiestie
know the man: his face is all bubukles and whelkes,
and knobs, and flames a fire, and his lippes blowes at his
nose, and it is like a coale of fire, sometimes plew, and
sometimes red, but his nose is executed, and his fire’s
out

KING

Wee would haue all such offendors so cut off:
and we giue expresse charge, that in our Marches through
the Countrey, there be nothing compell’d from the Villages;
nothing taken, but pay’d for: none of the French
vpbrayded or abused in disdainefull Language; for when
Leuitie and Crueltie play for a Kingdome, the gentler
Gamester is the soonest winner.

This is Laurence Olivier’s 1944 version of the scene, with the commoner Bardolph well off-camera:

… and Kenneth Branagh’s more pathos-laden 1989 interpretation, with the king wavering a moment as he locks eyes with his doomed subject, and flashing back to bygone scenes of conviviality before delivering his troop the stern lesson of his friend’s strangling:

Although Bardolph himself and his prior relationship with his sovereign are fiction, the action of the scene actually proceeds from reality. Shakespeare has (as is his wont) cribbed Holinshed, who relates that Henry’s army was under strict orders not to pillage the countryside, and observed that discipline to a man —

except one, which was, that a souldiour tooke a pix out of a church, for which he was apprehended, and the king not once remooved [i.e., he halted] till the box was restored, and the offendor strangled. The people of the countries thereabout, hearing of such zeale in him, to the maintenance of justice, ministered to his armie victuals, and other necessaries, although by open proclamation so to doo they were prohibited.*

* As quoted in the very apt 1992 “Shakespeare’s Henry the Fifth and the Law of War” by Theodor Meron, American Journal of International Law, vol. 86, no. 1.

Part of the Daily Double: Agincourt.

On this day..

Unspecified Year: Clever Tom Clinch, hung like a hero

Posted on by

This 1726 poem by Jonathan Swift toasts a charismatic client of the Tyburn tree — who is, alas, completely fictional.

Clever Tom Clinch going to be hanged

As clever Tom Clinch, while the Rabble was bawling,
Rode stately through Holbourn, to die in his Calling;
He stopt at the George for a Bottle of Sack,
And promis’d to pay for it when he’d come back.
His Waistcoat and Stockings, and Breeches were white,
His Cap had a new Cherry Ribbon to ty’t.
The Maids to the Doors and the Balconies ran,
And said, lack-a-day! he’s a proper young Man.
But, as from the Windows the Ladies he spy’d,
Like a Beau in the Box, he bow’d low on each Side;
And when his last Speech the loud Hawkers did cry,
He swore from his Cart, it was all a damn’d Lye.
The Hangman for Pardon fell down on his Knee;
Tom gave him a Kick in the Guts for his Fee.
Then said, I must speak to the People a little,
But I’ll see you all damn’d before I will whittle.
My honest Friend Wild, may he long hold his Place,
He lengthen’d my Life with a whole Year of Grace.
Take Courage, dear Comrades, and be not afraid,
Nor slip this Occasion to follow your Trade.
My Conscience is clear, and my Spirits are calm,
And thus I go off without Pray’r-Book or Psalm.
Then follow the Practice of clever Tom Clinch,
Who hung like a Hero, and never would flinch.

Any relationship between this literary gallows scene and any particular calendar date is purely coincidental, although the condemned man’s past-tense reference to executed thief-taker Jonathan Wild would theoretically place it subsequent to that man’s hanging on May 24, 1725.

On this day..

1832: Not Javert, spared by Jean Valjean

Posted on by

On this, the second day of the abortive 1832 June Rebellion in Paris, police inspector Javert is faux-executed — and mercifully released — by his longtime quarry Jean Valjean in Victor Hugo’s classic Les Miserables.


Javert depicted in an theatrical poster, from the Les Miserables Gallery. The site identifies this as an 1899 poster, which may be mistaken since the actor billed for Javert died in January 1898.

Hugo’s monumental novel is structured by the implacable policeman’s pursuit of Jean Valjean, an absconded ex-con with a heart of gold.

Fate brings them together accidentally at the barricade of the (historical, but now forgotten) student uprising — Javert to spy on the student revolutionaries, who unmask him, and Jean Valjean to keep an eye on his adoptive daughter’s idealistic lover.

Jean Valjean’s timely contribution to the hopelessly outgunned revolutionaries gives him the pull to ask the favor of being the one to execute the spy.* Since Valjean has been hunted relentlessly by the lawman since breaking parole nearly two decades before, the hero has ample motivation to turn executioner.

Instead…

When Jean Valjean was left alone with Javert, he untied the rope which fastened the prisoner across the middle of the body, and the knot of which was under the table. After this he made him a sign to rise.

Javert obeyed with that indefinable smile in which the supremacy of enchained authority is condensed.

Jean Valjean took Javert by the martingale, as one would take a beast of burden by the breast-band, and, dragging the latter after him, emerged from the wine-shop slowly, because Javert, with his impeded limbs, could take only very short steps.

Jean Valjean had the pistol in his hand.

In this manner they crossed the inner trapezium of the barricade. The insurgents, all intent on the attack, which was imminent, had their backs turned to these two.

Marius alone, stationed on one side, at the extreme left of the barricade, saw them pass. This group of victim and executioner was illuminated by the sepulchral light which he bore in his own soul.

Jean Valjean with some difficulty, but without relaxing his hold for a single instant, made Javert, pinioned as he was, scale the little entrenchment in the Mondetour lane.

When they had crossed this barrier, they found themselves alone in the lane. No one saw them.

…

Jean Valjean thrust the pistol under his arm and fixed on Javert a look which it required no words to interpret: “Javert, it is I.”

Javert replied:

“Take your revenge.”

Jean Valjean drew from his pocket a knife, and opened it.

“A clasp-knife!” exclaimed Javert, “you are right. That suits you better.”

Jean Valjean cut the martingale which Javert had about his neck, then he cut the cords on his wrists, then, stooping down, he cut the cord on his feet; and, straightening himself up, he said to him:

“You are free.”

Javert was not easily astonished. Still, master of himself though he was, he could not repress a start. He remained open-mouthed and motionless.

Jean Valjean continued:

“I do not think that I shall escape from this place. But if, by chance, I do, I live, under the name of Fauchelevent, in the Rue de l’Homme Arme, No. 7.”

Javert snarled like a tiger, which made him half open one corner of his mouth, and he muttered between his teeth:

“Have a care.”

“Go,” said Jean Valjean.

Javert began again:

“Thou saidst Fauchelevent, Rue de l’Homme Arme?”

“Number 7.”

Javert repeated in a low voice: — “Number 7.”

He buttoned up his coat once more, resumed the military stiffness between his shoulders, made a half turn, folded his arms and, supporting his chin on one of his hands, he set out in the direction of the Halles. Jean Valjean followed him with his eyes:

A few minutes later, Javert turned round and shouted to Jean Valjean:

“You annoy me. Kill me, rather.”

Javert himself did not notice that he no longer addressed Jean Valjean as “thou.”

“Be off with you,” said Jean Valjean.

Javert retreated slowly. A moment later he turned the corner of the Rue des Precheurs.

When Javert had disappeared, Jean Valjean fired his pistol in the air.

Then he returned to the barricade and said:

“It is done.”

Or, has played in the modern hit musical adaptation:

In saving his own soul, Jean Valjean (conveniently!) manages to kill his pursuer just the same: the cognitive dissonance for such a hard, emotionless man being on the receiving end of this bit of redemptive mercy leads Javert to break character so far as to allow his man to escape. The inspector then commits suicide.

Les Miserables is available free several places online, including Gutenberg.org and The Literature Network.

* While the recent musical production of Les Miserables soft-pedals what was planned for Javert, Hugo leaves no room for doubt: as the students prepare for the fatal onslaught, their leader Enjolras decrees that “[t]he last man to leave this room will smash the skull of this spy.”

On this day..

1297: Marion (Murron) Braidfute, bride of The Wallace

Posted on by

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)

On this day..

1178 B.C.E.: Penelope’s suitors, by Odysseus

Posted on by

On this date in 1178 B.C.E., according to some enterprising astronomers, the Greek hero Odysseus returned home to Ithaca from a 20-year absence and slaughtered the suitors who had taken up lodgings in his palace.

The date was asserted in 2008 based on astronomical clues in the text of Homer’s Odyssey.

This sort of putative historical specificity extracted from what could as well be read as literary devices — e.g., an eclipse — for a literary episode might gratify an advocate of “the higher naivete”, but the reader is well entitled to doubt.

Similarly, and more specifically for this venue, is the problem of whether the summary justice exacted by a Bronze Age chieftain meets the definition of an “execution”. This dubious case is resolved here by the unique subject matter.

Crafty quasi- (or altogether) mythical hero Odysseus (aka Ulysses), having left a generation before for the decade-long Trojan War which he finally resolved with the famous Trojan Horse strategem, then spent the next decade wandering about the sea en route to his home island.

When he gets there, he finds that 108 ill-mannered suitors have moved in, dissipated his fortune in merrymaking, and have ceaselessly dogged his faithful wife (and presumed widow) Penelope to remarry one of them.*

Together with his now-grown son Telemachus, Odysseus punishes them terribly .

“Dogs, did you think that I should not come back from Troy? You have wasted my substance, have forced my women servants to lie with you, and have wooed my wife while I was still living. You have feared neither God nor man, and now you shall die.”

They turned pale with fear as he spoke, and every man looked round about to see whither he might fly for safety, but Eurymachus alone spoke.

“If you are Ulysses,” said he, “then what you have said is just. We have done much wrong on your lands and in your house. But Antinous who was the head and front of the offending lies low already. It was all his doing. It was not that he wanted to marry Penelope; he did not so much care about that; what he wanted was something quite different, and Jove has not vouchsafed it to him; he wanted to kill your son and to be chief man in Ithaca. Now, therefore, that he has met the death which was his due, spare the lives of your people. We will make everything good among ourselves, and pay you in full for all that we have eaten and drunk. Each one of us shall pay you a fine worth twenty oxen, and we will keep on giving you gold and bronze till your heart is softened. Until we have done this no one can complain of your being enraged against us.”

Ulysses again glared at him and said, “Though you should give me all that you have in the world both now and all that you ever shall have, I will not stay my hand till I have paid all of you in full. You must fight, or fly for your lives; and fly, not a man of you shall.”

The suitors fight back, and most of the resulting deaths occur in the fray. But it’s about as one-sided as the contest on any proper scaffold.

As eagle-beaked, crook-taloned vultures from the mountains swoop down on the smaller birds that cower in flocks upon the ground, and kill them, for they cannot either fight or fly, and lookers on enjoy the sport — even so did Ulysses and his men fall upon the suitors and smite them on every side. They made a horrible groaning as their brains were being battered in, and the ground seethed with their blood.

And if many of the doomed die with their boots on, there are at least a couple of specific instances that clearly have a summary-execution character.

Leiodes then caught the knees of Ulysses and said, “Ulysses I beseech you have mercy upon me and spare me. I never wronged any of the women in your house either in word or deed, and I tried to stop the others. I saw them, but they would not listen, and now they are paying for their folly. I was their sacrificing priest; if you kill me, I shall die without having done anything to deserve it, and shall have got no thanks for all the good that I did.”

Ulysses looked sternly at him and answered, “If you were their sacrificing priest, you must have prayed many a time that it might be long before I got home again, and that you might marry my wife and have children by her. Therefore you shall die.”

With these words he picked up the sword that Agelaus had dropped when he was being killed, and which was lying upon the ground. Then he struck Leiodes on the back of his neck, so that his head fell rolling in the dust while he was yet speaking.

The minstrel Phemius, whose services had been procured by force, has better luck pleading for clemency when Telemachus intervenes before Odysseus can give him the chop. But the explorer’s son has no use at all for twelve corrupt handmaids who have abetted the suitors’ predations. I like this version in the chilling verse form quoted by Dr. Samuel Haughton in an 1866 paper on hanging that weirdly goes on to produce the physics necessary to demonstrate the intuitively obvious point that this must have required the main rope to anchor to pillars between each suspended noose, rather than all twelve on a single line.

…leading forth
The women next, they shut them close between
The lofty wall and scullery, narrow, straight,
And dreadful, whence no prisoner might escape.
Then, prudent, thus Telemachus advised:
 The death of honour would I never grant
To criminals like these, who poured contempt
On mine and on my mother’s head, and lay
By night enfolded in the suitors’ arms.
 He said, and noosing a strong galley rope
To a huge column, led the cord around
The spacious dome, suspended so aloft,
That none with quivering feet might reach the floor.
As when a flight of doves entering the copse,
Or broad-winged thrushes, strike against the net
Within; ill rest, entangled, there they find;
So they, suspended by the neck, expired
All in one line together. Death abhorred!
With restless feet awhile they beat the air,
Then ceased.

On whatever date imagined, or strictly as fiction, this whole bloodbath fixes the climax of one of seminal works of the western literary canon.

The excerpts quoted here are from the Internet Classics Archive; multiple versions of both The Odyssey and The Iliad are available on Gutenberg.org … they’ve even done The Odyssey as a TV miniseries.

* This site claims that there’s at least one alternate tradition in which the famously virtuous Penelope — wasn’t.

On this day..

1795: Unspecified Robespierrists

Posted on by

On this date in 1795, a Balzac story La Comedie humaine reaches its climax as the tumbrils of the Thermidorian Reaction wind their way to the scaffold.

In “An Episode Under the Terror”, a mysterious man appears to a priest in hiding and prevails upon him to say a secret mass for the recently executed Louis XVI.

It transpires in an exchange between the two that the stranger’s own conscience is somehow troubled.

“Remember, my son, [said the abbe] that it is not enough to have taken no active part in the great crime; that fact does not absolve you. The men who might have defended the King and left their swords in their scabbards, will have a very heavy account to render to the King of Heaven — Ah! yes,” he added, with an eloquent shake of the head, “heavy indeed! — for by doing nothing they became accomplices in the awful wickedness—-”

“But do you think that an indirect participation will be punished?” the stranger asked with a bewildered look. “There is the private soldier commanded to fall into line — is he actually responsible?”

We have no more answer in the text than we have in life.

Spoiler (That You Saw Coming) Alert

The stranger returns on the anniversary of the king’s martyrdom, but he remains enigmatic, until the abbe is caught up in a crowd watching the procession to the guillotine.

“What is the matter?” [the abbe] asked Madame Ragon.

“Nothing,” she said; “it is only the tumbril cart and the executioner going to the Place Louis XV. Ah! we used to see it often enough last year; but to-day, four days after the anniversary of the twenty-first of January, one does not feel sorry to see the ghastly procession.”

“Why not?” asked the abbe. “That is not said like a Christian.”

“Eh! but it is the execution of Robespierre‘s accomplices. They defended themselves as long as they could, but now it is their turn to go where they sent so many innocent people.”

The crowd poured by like a flood. The abbe, yielding to an impulse of curiosity, looked up above the heads, and there in the tumbril stood the man who had heard mass in the garret three days ago.

“Who is it?” he asked; “who is the man with—-”

“That is the headsman,” answered M. Ragon.

Meaning (though unnamed as such by Balzac), the phenomenally prolific Sanson.

On this day..

1615: Kate McNiven, the Witch of Monzie

Posted on by

(It’s Samhain — the ancient, pagan wellspring of Halloween. Thanks to Royelen for this timely remembrance of a completely undated witch-burning from Scottish folklore.)

A gurgling fountain at the property border announces a gentle place. The fountain has a small pond filled with friendly goldfish which swim your way. They are hoping for morsel of food but it feels like an appropriate welcome to a local herb shop.

The mission is to find a remedy for leg pain. For a few moments the pain can wait while the lemon thyme gets rubbed by fingers gathering up the smell for a delightful inhalation. And then there is the basil, the chocolate mint, the rosemary — and so it goes with rows and rows of little pots of tiny green plants, each fragrant in a unique way. Each creating its own sensation.

When sated with nasal stimulation, it’s time to enter the house. It causes no surprise when cheery sounding chimes ring as the door opens. Inside the walls are lined with shelves. Each shelf is filled with glass jars. Each jar has a different dried leaf. There are many jars. An herb shop employee is happy to help.

“Pain, long-standing muscle pain? In your leg. Uh-huh. It’s possibly a nutritional deficiency, you want to take calcium, two pills twice-a-day. You’ll know in two weeks if this is the cause.”

This knowledge, long forgotten and now denied by Western medicine, may have been the kind of knowledge that got Kate McNiven killed.

Scottish lore has it that Kate McNiven’s community of Monzie in Scotland first sought her out for her wisdom, maybe for her herb cures and curse-ending charms. Then, in the era of witch burnings, her community pulled her from her service and burned her to death. After killing her, Kate McNiven’s community made her a local legend.

Today we might assess Kate McNiven as a real witch based on the power of the curse she left behind — a curse which the generations passed down and which now comes to us across the Internet; a curse which leaves us the tale of a talisman known as the Inchbrakie Moonstone.

Though there are no official records, the curse is said to begin in 1615* when Kate was accused of witchcraft. Having been found guilty, word spread of her immediate execution by fire. A landowner of a nearby estate, having come upon the fire preparations, asked the gathered crowd to stop their execution plan. While he had no success, he did win favor from the named witch.

As the fires around her grew, Kate McNiven began her curse. The landowner of execution site was cursed, then the area known as Monzie was cursed, and finally she honored the unsuccessful estate owner who attempted to stop her execution. She threw from the fires a charm — a blue stone that had been around her neck — and told him that if he kept it close, he would always be blessed with sons and they would always be blessed with lands.

The legend goes that the cursing was successful. The landlord on whose land she died was not able to pass the property on. Monzie withered.

Of course, the land owner who pleaded her case kept the stone near as directed. As the legend goes it always was put on the fingers of the daughter-in-laws and heirs were always produced. Centuries of fecundity were enjoyed until one descendant made the mistake of allowing the stone to be moved outside of the estate. That was the end of the good run and proof of Kate’s powers as a witch.

Is the legend of the Witch of Monzie a romantic retelling of a woman’s death or is it a community reassuring itself that the executed woman was guilty of her crimes? Maybe both. Maybe more.

Swiss psychotherapy pioneer Carl Jung’s theory of the shadow tells us that Kate McNiven’s peers attributed to her what they could not accept in themselves. They found her untrustworthy and capable of doing strange things. For some reason, she of all people was chosen as the one to be the scapegoat. It may have been for no other reason than she didn’t point the finger at someone else. The people of Monzie did not fight for her release, and they likely felt relieved that the pressure was off of them. Their untrustworthiness and strange behaviors were not under scrutiny. For the moment, they were safe.

It’s easy to imagine Kate McNiven as Tessie in Shirley Jackson’s short story, “The Lottery”:,

The children had stones already. And someone gave little Davy Hutchinson a few pebbles.

Tessie Hutchinson was in the center of a cleared space by now, and she held her hands out desperately as the villagers moved in on her. “It isn’t fair,” she said. A stone hit her on the side of the head. Old Man Warner was saying, “Come on, come on, everyone.” Steve Adams was in the front of the crowd of villagers, with Mrs. Graves beside him.

“It isn’t fair, it isn’t right,” Mrs. Hutchinson screamed, and then they were upon her.

* Not only the year but the century of Kate McNiven’s — or M’Niven, McNieven or Nicniven — execution is disputed. Sources report both 1615 (in the midst of King James’ witch-sniffing reign), and 1715 (which would make her one of the last witchcraft executions in Scotland).

But there is no original documentation — a University of Dundee archivist has confirmed this for Executed Today — and McNiven is not listed in Scotland’s witch executions database. She was promulgated in a 19th-century text, The Holocaust, or, the Witch of Monzie and could be entirely fictional. (Update: The myth dissected in comments.)

On this day..

1622: Anne de Chantraine, young witch

Posted on by

On this date in 1622, Anne de Chantraine was burned at the stake for witchcraft in Waret-la-Chaussee, Belgium.

Our day’s heroine answers most prominently to fictional modern interpretations — about which more in a moment — but Anne de Chantraine was a flesh-and-blood person, at least for 17 years.*

In outline form, Anne is said to have faced the usual litany of sorcerous allegations and the usual ordeals to demonstrate guilt, with the usual result: confession, execution. Here in the opening years of the Thirty Years’ War coeval with the the conflicts of the Protestant Reformation, one cannot but suspect the fearful hand of endangered authority in witch-hunts. Historian Hugh Trevor-Roper argued that

this recrudescence of the witch-craze in the 1560s was directly connected with the return of religious war … It can be shown from geography: every major outbreak is in the frontier-area where religious strife is not intellectual, a dissent of opinion, but social, the dissidence of a society. … Thereafter, almost every local outbreak can be related to the aggression of one religion upon the other.

Anne de Chantraine’s environs fit the theorem.

The Walloon region of Liege at this point was governed by a Catholic Prince-Bishop of Habsburg stock, just as the Holy Roman Empire was putting down the Protestant stirrings in Bohemia that would initiate Europe’s epochal war and send armies to and fro through the Low Countries. Said Prince-Bishop, name of Ferdinand of Bavaria, would win renown as a zealous persecutor of the diabolical in his realms.

Alas for Anne.

She’s a bit better documented among Francophones (see this biography in French, for instance, full of sensual details like the gorgeous red hair, a spurned lover accusing her, and the rough play of medieval torture; there’s also a brief roundup in German here), but worldwide, she’s a literary character of some consequence — most notably, perhaps, through the work of Belgian author Francoise Mallet-Joris: her 1968 Trois âges de la nuit (translated to English as simply The Witches) presents Anne de Chantraine as the focal point of one of three vignettes reimagining real historical “witches” as persons struggling for spiritual growth.

Anne, in this version, does participate in (staged, not-really-supernatural) witches’ sabbaths, plus a lesbian affair with a fellow participant. Her seekings both godly and infernal (paralleled by lifestyles both monastic and hedonistic) fall short of satisfactory; in the end, exercising magic unto her own death is a form of self-actualization among fellow people who, unable to recognize her humanity, brutalize or ignore her.

Players of the long-running video board game Atmosfear (or Nightmare) will also recognize Anne de Chantraine as a recurring witch character. The series uses recordings (VCR tapes originally; DVDs now) played during gameplay; “the witch” is featured as the central character in Atmosfear III/Nightmare III:

(In the comment thread for this video on YouTube, the French actress Frederique Fouche drops in to confirm her part as the witch. According to this French interview, the role caused her to become an emigre in Australia.)

* Some reports say she was burned at age 17, others that she was arrested at 17, which would have made her 18 or 19 at her death.

Part of the Themed Set: Belles Epoque.

On this day..

Unspecified Year: Justine Moritz, Frankenstein family servant

Posted on by

Around this date in the unspecified 18th-century year of Mary Shelley’s Frankenstein, the titular family’s servant is put to death for the murder of their youngest child, William.

In the novel, smarty-pants university student Victor Frankenstein has created (and immediately rejected) his famous monster. Not long after, he receives a letter (dated May 12, “17–“) from his father informing him of the murder of his youngest brother.

About five in the morning I discovered my lovely boy, whom the night before I had seen blooming and active in health, stretched on the grass livid and motionless; the print of the murder’s finger was on his neck.

Covering the 600-plus kilometers home to Geneva, Victor becomes convinced that his creation is the culprit.* But upon reaching his destination, he finds that circumstantial evidence has accused the family’s blameless (and ironically named) servant, Justine.

He’s back just in time to watch, in horror, as she’s convicted — impotent (or at least that’s what he tells himself) to help her with his fantastical truth, and despairingly watching her friends abandon her to her fate.

Justine has grown up with Victor and the others, so the entire Frankenstein family remains convinced of the servant’s innocence, though they’re practically alone in Geneva in that belief.

A woodcut illustration of Justine in prison, by Lynd Ward — as seen here.

Shelley includes an interesting passage in which Justine (having already been convicted) is battered by her priest into falsely confessing to the crime. Though clearly anti-clerical in intent, it’s also a moment with remarkable current resonance given the prevalence of false confessions in modern wrongful conviction scenarios:

“I did confess, but I confessed a lie. I confessed, that I might obtain absolution; but now that falsehood lies heavier at my heart than all my other sins. The God of heaven forgive me! Ever since I was condemned, my confessor has besieged me; he threatened and menaced, until I almost began to think that I was the monster that he said I was. He threatened excommunication and hell fire in my last moments if I continued obdurate. Dear lady, I had none to support me; all looked on me as a wretch doomed to ignominy and perdition. What could I do? In an evil hour I subscribed to a lie; and now only am I truly miserable.”

The poor woman’s fate is sealed either way — and in her parting conversation with Victor and his future wife Elizabeth, we find Justine more at peace than the monster’s creator:

“I do not fear to die,” [Justine] said; “that pang is past. God raises my weakness and gives me courage to endure the worst. I leave a sad and bitter world; and if you remember me and think of me as of one unjustly condemned, I am resigned to the fate awaiting me. Learn from me, dear lady, to submit in patience to the will of heaven!”

During this conversation I [Victor] had retired to a corner of the prison room, where I could conceal the horrid anguish that possessed me. Despair! Who dared talk of that? The poor victim, who on the morrow was to pass the awful boundary between life and death, felt not, as I did, such deep and bitter agony.

…

“In these last moments I feel the sincerest gratitude towards those who think of me with kindness. How sweet is the affection of others to such a wretch as I am! It removes more than half my misfortune, and I feel as if I could die in peace now that my innocence is acknowledged by you, dear lady, and your cousin.”

Thus the poor sufferer tried to comfort others and herself. She indeed gained the resignation she desired. But I, the true murderer, felt the never-dying worm alive in my bosom, which allowed of no hope or consolation. Elizabeth also wept and was unhappy, but hers also was the misery of innocence, which, like a cloud that passes over the fair moon, for a while hides but cannot tarnish its brightness. Anguish and despair had penetrated into the core of my heart; I bore a hell within me which nothing could extinguish. We stayed several hours with Justine, and it was with great difficulty that Elizabeth could tear herself away. “I wish,” cried she, “that I were to die with you; I cannot live in this world of misery.”

Justine assumed an air of cheerfulness, while she with difficulty repressed her bitter tears. She embraced Elizabeth and said in a voice of half-suppressed emotion, “Farewell, sweet lady, dearest Elizabeth, my beloved and only friend; may heaven, in its bounty, bless and preserve you; may this be the last misfortune that you will ever suffer! Live, and be happy, and make others so.”

And on the morrow** Justine died. Elizabeth’s heart-rending eloquence failed to move the judges from their settled conviction in the criminality of the saintly sufferer. My passionate and indignant appeals were lost upon them. And when I received their cold answers and heard the harsh, unfeeling reasoning of these men, my purposed avowal died away on my lips. Thus I might proclaim myself a madman, but not revoke the sentence passed upon my wretched victim. She perished on the scaffold as a murderess!

Shelley gives us quite the gentle picture of the Frankenstein family, in which Victor is practically the only exponent of vengeance after the dreadful crime. Even the father’s initial letter home, written in the immediate shock after discovering the boy’s body, summons his son to come

not brooding thoughts of vengeance against the assassin, but with feelings of peace and gentleness, that will heal, instead of festering, the wounds of our minds.

After the hanging, dad again endeavors to keep Victor from wasting himself on rage … which it seems that Victor would have readily assented to had he not carried his secret burden of guilt:

“Do you think, Victor,” said he, “that I do not suffer also? No one could love a child more than I loved your brother” — tears came into his eyes as he spoke — “but is it not a duty to the survivors that we should refrain from augmenting their unhappiness by an appearance of immoderate grief? It is also a duty owed to yourself, for excessive sorrow prevents improvement or enjoyment, or even the discharge of daily usefulness, without which no man is fit for society.”

This advice, although good, was totally inapplicable to my case; I should have been the first to hide my grief and console my friends if remorse had not mingled its bitterness, and terror its alarm, with my other sensations.

Frankenstein is available free at Project Gutenberg. Of course, it has been adapted many times into other cultural artifacts; these are somewhat famous for their infidelity to the original work, and Justine tends to get short shrift in most (although she’s hanged in quite an over-the-top spectacle in the 1994 Kenneth Branagh vehicle Mary Shelley’s Frankenstein (review here)).

If Justine is usually pulled from the story, Hollywood has found a role for the scaffold elsewhere. Where Shelley has Victor haunting “charnel houses” and the like, the seminal and oft-imitated 1931 Boris Karloff film makes a point to include a hanged criminal for some of the creature’s parts — although “the brain is useless”:

But a criminal brain finds its way into the monster just the same, an explanation of its behavior completely antithetical to Mary Shelley’s:

* He’s right, of course — the creature later admits it — but you could certainly quibble with Victor’s methodology:

Nothing in human shape could have destroyed the fair child. HE was the murderer! I could not doubt it. The mere presence of the idea was an irresistible proof of the fact.

** The precise date is never disclosed, but the events are roughly dated by Victor’s subsequent narration, “it was about the middle of the month of August, nearly two months after the death of Justine, that miserable epoch from which I dated all my woe.”

On this day..

Unspecified Year: Faust’s Gretchen

Posted on by

In Goethe’s Faust (original German | English), the title character’s lover on this date spurns his rescue and is put to death for killing their illegitimate child.

In the text, Faust and Mephistopheles celebrate Walpurgisnacht. The next day — “dreary day,” Goethe has it — the hero realizes his Faustian bargain is coming due, to the indifference of his infernal patron. (This is the work’s only scene in prose.)

FAUST

In misery! In despair! Long wretchedly astray on the face of the earth, and now imprisoned! That gracious, ill-starred creature shut in a dungeon as a criminal, and given up to fearful torments! To this has it come! to this!—Treacherous, contemptible spirit, and thou hast concealed it from me!—Stand, then,—stand! Roll the devilish eyes wrathfully in thy head! Stand and defy me with thine intolerable presence! Imprisoned! In irretrievable misery! Delivered up to evil spirits, and to condemning, unfeeling Man! And thou hast lulled me, meanwhile, with the most insipid dissipations, hast concealed from me her increasing wretchedness, and suffered her to go helplessly to ruin!

MEPHISTOPHELES

She is not the first.

Faust nevertheless browbeats the devil into infiltrating him that night into the prison where Gretchen (a German nickname for Margaret, Margarethe, or Marguerite), terrified, mistakes him at first for the executioner who will come for her in a few hours:

Risen at Dawn, Gretchen Discovering Faust’s Jewels — a scene from Gretchen’s seduction by Pre-Raphaelite painter Dante Gabriel Rossetti.

GRETCHEN (on her knees)

Who, headsman! unto thee such power
Over me could give?
Thou’rt come for me at midnight-hour:
Have mercy on me, let me live!
Is’t not soon enough when morning chime has run?

(She rises.)

And I am yet so young, so young!
And now Death comes, and ruin!
I, too, was fair, and that was my undoing.
My love was near, but now he’s far;
Torn lies the wreath, scattered the blossoms are.
Seize me not thus so violently!
Spare me! What have I done to thee?
Let me not vainly entreat thee!
I never chanced, in all my days, to meet thee!

Yet she refuses to flee with him — sensing the change in his character, fearful of living as a fugitive, resigned to a death incurred by her own culpability.

Day? Yes, the day comes,—the last day breaks for me!
My wedding-day it was to be!
Tell no one thou has been with Gretchen!
Woe for my garland! The chances
Are over—’tis all in vain!
We shall meet once again,
But not at the dances!
The crowd is thronging, no word is spoken:
The square below
And the streets overflow:
The death-bell tolls, the wand is broken.
I am seized, and bound, and delivered—
Shoved to the block—they give the sign!
Now over each neck has quivered
The blade that is quivering over mine.
Dumb lies the world like the grave!

Faust has had innumerable interpretations in performance, typically omitting the intervening “dreary day” scene, which makes the prison sequence appear to take place at the conclusion of Walpurgisnacht. The prison confrontation, for instance, caps a Gounod opera:

In F.W. Murnau‘s masterful 1926 silent adaptation, the sentence is carried out by burning rather than beheading. This film is in the public domain and available in its entirety free online:

On this day..