Category Archives: 15th Century

1457: László Hunyadi, the death before Hungary’s rebirth

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On this date in 1457, Hungary lost a young prospective statesman and gained a national martyr.

A tale of noble bloodshed begins as so many do with a contested succession, this one amid the confusing feudal geometry of central Europe in the shadow of the rising Ottoman Empire. The untimely (albeit unsurprising) death in battle of warlike Albert II of Germany put the crown in the hands of a son born four months after his demise — the memorably named Ladislaus the Posthumous.

Effective government, needless to say, was in the hands of more senior gentlemen: the ambitious Slovenian-Croatian count Ulrich II and the able Hungarian commander John Hunyadi.* With two strapping Hunyadi boys who were contemporaries with the nominal king, it was only a matter of time before someone wound up dead.

Hunyadi pere saw it all coming. On his deathbed in 1456, he warned his children never to find themselves both together with Ladislaus.

Events moved fast after John Hunyadi’s passing. The Posthumous, now a teenager, set Hunyadi’s longtime rival up against the boys’ claim, but Laszlo, the elder brother, killed Ulrich. Ladislaus — answering the exigencies of the moment but possibly also sincerely relieved to be rid of his overbearing uncle — immediately pardoned the killer and offered to have him over to court.

Dad would have said, “I told you so.”

Upon arrival, Laszlo was seized, sentenced to death by a kangaroo court, and summarily beheaded. The most melodramatic version has the beheading botched three times and Laszlo demanding a reprieve on the grounds that heaven had attested his innocence by preserving him. Ladislaus had his guys keep at it until heaven threw in the towel.

The Buried Lead

So, hard going for some noble tit in the borderlands 551 years ago. What’s the relevance? Why, when Hungarian artists of the 19th century groped for an expression of national identity did they hark back to unlucky Laszlo on canvas …

The Mourning of Laszlo Hunyadi (1859) by Viktor Madarász shows the pallid-faced mother and bride of the prince bewailing his body, the fatal wound unmistakably suggested while remaining artfully concealed. Painted in Paris, it won a French state medal. (Source)

… and in opera?

The answer is less to do with Laszlo’s own qualities, courageous though they may have been.

A few months after having the young man put to death, Ladislaus himself died suddenly. Contemporaries suspected poison; others thought cosmic justice punished him for breaking faith. Modern science — vulture, whose wings are dull realities! — fingers something as unromantic as a medical condition.

One way or another, Ladislaus really was Posthumous, and into the empty throne stepped Laszlo’s 15-year-old brother Matthias — who had been more judicious about his head than his brother. Matthias would reign for 32 years and enter Hungarian folklore as “Matthias the Just”.

The long and adroit span of Matthias’ career and his father’s combined to immortalize the Hunyadi name (which fell extinct after Matthias’ passing before it could produce any buzzkilling scions of more doubtful abilities) as synonymous with Hungary’s golden age.

Laszlo’s reputation mostly just comes along for the ride — had, say, Ladislaus enjoyed Matthias’ run, the elimination of a boyhood rival would have been chalked down to the regrettable griminess of the day’s political reality; had some other claimant followed him to the throne, the Hunyadi name would never have had the luster to make him an attractive operatic subject.

A Symbol of National Rebirth

But they’re called “counterfactuals” for a reason: it may have happened by chance, but it did happen that Laszlo Hunyadi’s martyrology, in the victim’s very name, conveniently totes to the present day a pleasing theme of national redemption and greatness.

As described in this (.pdf) introduction to the opera (part of an extensive collection of information about Ferenc Erkel‘s operas, including a translated libretto of Hunyadi Laszlo):

In the national mythology the Hunyadi family’s descent into the underworld is symbolized by the fate of Laszlo Hunyadi, the firstborn of Janos Hunyadi who was 10 years Matyas’s senior. His life and death were preserved in the collective memory of the nation not as an independent legend but as the middle part of an imaginary trilogy about the Hunyadis. Laszlo Negyessy wrote that the opera Hunyadi Laszlo “has an air of incompleteness because the story is suspended at a point where all our senses appeal for continuation. However, this continuation and poetic justice is served in our national memory.”

Here is Erkel’s celebrated funeral march (“Gyaszindulo”) rendering the victim’s journey to his scaffold this day — the non-choral prelude to his mother’s dramatic plea for his life in the video above, and one of the signature compositions of Hungarian music**:

[audio:Hunyadi_Laszlo_funeral_march.mp3]

* John (Janos) Hunyadi wasn’t above meddling with the neighbors himself. Hungary figures as a bully of the kingdom of Wallachia (modern Romania) at this time; John Hunyadi deposed the father of, then (in the course of political alignment) helped raise to Wallachia’s throne, Vlad the Impaler, the sort-of historical model (and apparent historical namesake) for the vampire Dracula. When Vlad Dracula was deposed in turn, he fled to the protection of Matthias Hunyadi.

** Erkel also wrote the Hungarian national anthem.

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1463: Not François Villon

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Je suis François, dont ce me poise,
Né de Paris emprès Ponthoise.
Or d’une corde d’une toise
Saura mon col que mon cul poise.*

-F. Villon, LE QUATRAIN
“Que feit Villon quand il fut jugé à mourir.”

On this day in 1463 François Villon vanished into thin air — along with his mastery for words and for mischief.

Posterity is left to write blog entries about his miraculous deliverance from the gallows; to credit him with influence on Fin de siècle poets, contemporary cinema and god knows what else; to speculate about his destiny; to explain the motives for his disreputable lifestyle (oh, why, my dear reader, are we so presumptuous?); and, well, to read his verse.

[audio:Villon_ballade_du_concours_de_Blois.mp3]

The epithets “thief” and “rogue” are de rigueur when a discourse demands an allusion to his name. The man was a villain, all right. Villon’s official criminal career started with a drunken brawl murder. He got entangled with a gang. He stole, imbibed and rollicked. He was banished, imprisoned and tortured.

One prim Scotsman, a trained lawyer and a beloved writer, wields rather harsh albeit stunningly eloquent prose to depict our pauvre Villon. To Stevenson, Villon was “the first wicked sansculotte”, a “sinister dog”, “the sorriest figure on the rolls of fame”, whose “pathos is that of a professional mendicant who should happen to be a man of genius”.

Incidentally (I hope the reader will forgive this digression given the general topicality of the issue), Stevenson, a harsh judge of Villon’s ignoble nature, says this about waterboarding:

[Villon] was put to the question by water. He who had tossed off so many cups of white Baigneux or red Beaune, now drank water through linen folds, until his bowels were flooded and his heart stood still. After so much raising of the elbow, so much outcry of fictitious thirst, here at last was enough drinking for a lifetime. Truly, of our pleasant vices, the gods make whips to scourge us …

A different take on Villon’s despicable life is voiced by another poet, Osip Mandelstam:

Villon’s sympathy to the society’s scumbags, to everything that is vile and criminal is not demonism. The nefarious company, to which he was so quickly and intimately drawn, captivated his feminine nature with great temperament and powerful rhythm of life, which he could not find elsewhere in the society.

… With odd brutality and rhythmic ardor, he depicts in his ballad [The Ballad of the Hanged], how wind swings the bodies of the wretched, to and fro, as it will … Even death he endows with dynamic qualities, and here manages to manifest his love to rhythm and movement … I think that Villon was allured not by demonism, but by the dynamics of crime …

(Mandelstam’s original is in Russian; this translation is mine)

In the autumn of 1462 François Villon was arrested. He expected to be hanged. Instead, on this date, parliament granted him a pardon and banished him from Paris (for the third time, no less).

What happened to the poor vagabond, medieval Parisian desperado, that troubadour of the rascals?

The trail goes cold — the yellowed parchments fall silent. He vanished into thin air …

* Below is a rather unsatisfactory and uncredited translation found here, which nevertheless conveys the idea:

Surname? Villon, just my luck.
Born? In Paris, near Pontoise.
You wonder what my backside weighs?
Ask my neck when they string me up.

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1491: Eight current and converted Jews at an auto de fe

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On this date in 1491, the murder of the Holy Child of La Guardia was punished with an auto de fe and the public execution of eight Jews — some practicing, some converted to Christianity (who enjoyed the mercy of strangulation before being burnt) — and three others already dead but exhumed for the occasion.

The auto de fe — literally, “act of faith” — was a public ritual of religious penance for the condemned. Though its performance did not always precede the execution of its participants, it became closely associated with the savagery of the Spanish Inquisition.

In the hysteria of the Holy Child of La Guardia case — one of history’s better-remembered instances of “blood libel” implicating Jews in the ritual murder of Christian children — the result was foreordained.

Knitting together (inconsistent) confessions obtained under torture, the famed Inquisitor Torquemada proved a conspiracy of Jews had kidnapped and crucified a child further to the concoction of a magic potion that depended on the heart of an innocent Christian — despite a fruitless high-and-low search for some missing child who might have been the actual victim.

After this day’s gaudy public slaughter, a cult sprang up around the supposed martyr, adored in a chapel erected where one of the prisoners had once had a home — the very spot, it was said, where the Jews conspired. The Holy Child was a staple of Spanish literature down to the 20th century and is still venerated in La Guardia.

But Torquemada aimed for results well beyond Christendom’s martyrology, and the wretches at the stake would not be this day’s only victims.

John Edward Longhurst argues in The Age of Torquemada that the Inquisitor seized on the Holy Child case to orchestrate “his heart’s desire — the expulsion of all Jews from Spain.”*

Early the next year, the Spanish monarchy obliged, permanently remaking Spain:

If Ferdinand and Isabella were hesitating over expelling the Jews from Spain, the discovery of this latest Jewish plot would surely resolve all doubts. The Auto de Fe of November, 1491, exploited the affair to its fullest, emphasizing not only all the gruesome details of the Murder but the Jewish menace to Christians intended by it. The sentence against the Jew Juce Franco, read aloud to the great crowd at the Auto de Fe, identifies him as a seducer of Christians to the Law of Moses in language that clearly foreshadows the Edict of Expulsion four months later

…

We may be sure that Ferdinand and Isabella were treated to a lengthy account of this case. It also is clear, from their own observations in the Edict of Expulsion, that Torquemada impressed on them the determination of the Jews to persist in their efforts to seduce Christians to Judaism. As long as they were permitted to remain, the danger of infection would never be eliminated, no matter how harsh the measures employed against them.

* Or, their forcible conversion … which would then keep the Inquisition in business for years to come.

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