Tag Archives: poetry

1864: Six of Mosby’s Rangers

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It was on this date in 1864* that an infamous Union war crime took place in Front Royal, Virginia.

Union forces in the Old Dominion were bedeviled by John Singleton Mosby, whose bold and legendary guerrilla tactics are commemorated in Herman Melville’s “The Scout Toward Aldie”:

All spake of him, but few had seen
Except the maimed ones or the low;
Yet rumor made him every thing–
A farmer–woodman–refugee–
The man who crossed the field but now;
A spell about his life did cling —
Who to the ground shall Mosby bring?

In 1864, the “Gray Ghost” haunted the Shenandoah Valley, and his spooky brand of warfare eventually goaded the Union into crossing the streams.

Allegedly raging from the murder by Mosby’s troops of a surrendering northern cavalryman, the blues rounded up six captured Mosby men — actually only five, plus one 17-year-old civilian who had opportunistically joined the fray — and summarily executed them.

David Jones, Lucien Love and Thomas Anderson were shot. So was the aforementioned civilian, Henry Rhodes, under the eyes of his shrieking mother.

Then, two last unfortunates were hanged. William Thomas Overton spurned an offer of clemency in exchange for information on Mosby’s hideouts with the memorable parting, “Mosby will hang 10 of you for every one of us.”

Not quite so … but not an empty threat, either. Weeks later, Mosby would order the retaliatory executions of a like number** of randomly-selected Union prisoners of war, and communicate this intelligence to his foes along with his (successful) suit to resume more gentlemanly methods of killing one another.

* Some sources (including some cited in this post) claim September 22nd. The consensus of authoritative sources appears to be clearly September 23rd. The Gray Ghost himself may be one source of the confusion; according to Custer and the Front Royal Executions, “In his memoirs, which were published over 50 years after the event, Mosby got the date wrong, apparently based upon one of the newspaper accounts … [which] stated that the Front Royal incident occurred on September 22, not September 23, the date upon which it actually did occur.”

** Seven were condemned in retaliation, for these six plus a separate execution that occurred Oct. 13.

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1777: William Dodd, mind wonderfully concentrated

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On this date in 1777, they hanged the macaroni parson at Tyburn.

High-living, Cambridge-educated vicar William Dodd achieved this emasculating nickname for his frippery — macaroni (or maccaroni) being 18th century slang for a sort of outrageous continental metrosexual.*

He came particularly in for public ridicule when he was caught trying to bribe his way to a lucrative ecclesiastical position, financial hardship from his lifestyle having driven him to the desperate need for a pay hike. (In sorer straits later, he would sum up his life: “my greatest evil was expense. To supply it, I fell into the dreadful and ruinous mode of raising money by simonies. The annuities devoured me.”

Playwright Samuel Foote skewered the recently-humiliated Dodd on the stage in The Cozeners as “Dr. Simony,” described in the scrambled boast of “Mrs. Simony”:

not a more populous preacher within the sound of Bow-bells: I don’t mean for the mobility only … with a cambric handkerchief in one hand, and a diamond ring on the other: and then he waves this way and that way; and he curtsies, and he bows, and he bounces, that all the people are ready to — but then his wig, madam! I am sure you must admire his dear wig … short, rounded off at the ear, to show his plump cherry cheeks, white as a curd, feather-topped, and the curls as close as a cauliflower…

Then, my doctor is none of your schismatics, madam; believes in the whole thirty-nine! and so he would if there were nine times as many.

Three years after Foote’s cruel pen gave Dodd’s name immortality, the divine himself was (so he should think) ushered into eternity, after he got caught passing a forged bond against the revenues of his onetime student Lord Chesterfield.

Condemned to die for the offense,** a longer-than-usual lag from sentence to execution gave Dr. Simony leave to follow that classic Calvary of errant clerics with a mien of pious self-flagellation that helped his case raised a public outcry for clemency.

Samuel Johnson was among thousands of Britons who petitioned for mercy, and in Johnson’s case, went a bit further to ghost-write a piece in Dodd’s name, “The convict’s address to his unhappy brethren”. It was when the litterateur’s hand was suspected behind this prose† that Johnson made his quotable, tweetable remark,

“Depend upon it Sir, when a man knows he is to be hanged in a fortnight, it concentrates his mind wonderfully.”

Dr. Johnson, nevertheless, was the true author, and the old scribbler used it to express some of his particular opinions on the proper staging of gallows-theater.

It is the duty of a penitent to repair, so far as he has the power, the injury which he has done. What we can do, is commonly nothing more than to leave the world an example of contrition. On the dreadful day, when the sentence of the law has its full force, some will be found to have affected a shameless bravery, or negligent intrepidity. Such is not the proper behaviour of a convicted criminal. To rejoice in tortures is the privilege of a martyr; to meet death with intrepidity is the right only of innocence, if in any human being innocence could be found. Of him, whose life is shortened by his crimes, the last duties are humility and self-abasement. We owe to God sincere repentance; we owe to man the appearance of repentance.—-We ought not to propagate an opinion, that he who lived in wickedness can die with courage.‡

William Dodd (together with another criminal, Joseph Harris: there’s a wonderful profile of this forgotten youth here) had occasion to do just that this day in 1777. Dodd became the last person hanged for forgery at Tyburn.

Updated: According to Wendy Moore, there was an posthumous attempt at resuscitation, which was known to work sometimes.

Dodd, himself a big death penalty opponent from his former public perch, gave a sermon the very year of his eventual death titled The Frequency of Capital Punishments Inconsistent with Justice, Sound Policy and Religion, critiquing “voluntary destruction” of human life and its inconsistency with “the humane and benevolent spirit which characterizes the present times.”

He was also — which helps explain the revival attempt — a big supporter of the Humane Society, which sought to apply the developing science of the Enlightenment to the problem of resuscitating the (near-)drowned. (The Royal Humane Society’s motto today is lateat scintillula forsan, “a small spark may perhaps lie hid.”)

Dodd preached an enthusiastic sermon to this body in 1776, expansively anticipating its work for analogous “various other kinds of sudden and accidental death” such as “malefactors executed at the gallows, [which] would afford opportunities of discovering how far this method might be successful in relieving such as may have unhappily become their own executioners by hanging themselves.” Dodd’s own engagement with both the medical and the theological questions at stake in resuscitation surely conditioned his own anticipation under the noose that, if revived, he might live on as a “renovated being.”

(Dodd’s involvement with the Humane Society is detailed in Kelly McGuire’s “Raising the Dead: Sermons, Suicide, and Transnational Exchange in the Eighteenth Century,” Literature and Medicine, Spring 2009.)

It was, surely, an astounding time to live; no less so, to die. And the mysterious border between the two might be re-engineered by human ingenuity.

As Lord Byron (a man with his own fascination for the scaffold) wrote in Don Juan,

What opposite discoveries we have seen!
(Signs of true genius, and of empty pockets.)
One makes new noses, one a guillotine,
One breaks your bones, one sets them in their sockets;

…

Bread has been made (indifferent) from potatoes;
And galvanism has set some corpses grinning,
But has not answer’d like the apparatus
Of the Humane Society’s beginning
By which men are unsuffocated gratis:
What wondrous new machines have late been spinning!

* The lyrics of “Yankee Doodle Dandy” (“stuck a feather in his hat and called it macaroni”) may be the most recognizable modern-day relic of this lexicon.

** Dodd made a groveling plea to the jury in the face of overwhelming evidence against him, at one point bold enough to appeal to injury his death would inflict upon those who lent him money: “I have creditors, honest men, who will lose much by my death. I hope, for the sake of justice towards them, some mercy will be shown to me. ”

† Dodd could write a little himself; he had a theological tract and a commentary on Shakespeare already to his name, and at Newgate cranked out Thoughts in Prison, a collection of sub-Villon poetry.

‡ In an addendum that would have warmed the cockles of the Roberts court, Johnson-as-Dodd also opined,

Every man reposes upon the tribunals of his country the stability of possession, and the serenity of life. He therefore who unjustly exposes the courts of judicature to suspicion, either of partiality or error, not only does an injury to those who dispense the laws, but diminishes the public confidence in the laws themselves, and shakes the foundation of public tranquility.

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

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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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1957: Burton Abbott, reprieved too late

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On this date in 1957, the phone outside San Quentin’s gas chamber rang with a governor’s reprieve for Burton Abbott … but the execution was already underway.

Abbott was convicted of abducting and murdering 12-year-old Stephanie Bryan — a notorious crime that poet Sharon Olds, then a San Francisco teenager about the same age as the victim, memorialized in verse.

Then dirt scared me, because of the dirt
he had put on her face. And her training bra
scared me—the newspapers, morning and evening,
kept saying it, training bra,
as if the cups of it had been calling
the breasts up—he buried her in it,
perhaps he had never bothered to take it
off. They found her underpants
in a garbage can. And I feared the word
eczema, like my acne and like
the X in the paper which marked her body,
as if he had killed her for not being flawless.

Strong though ultimately circumstantial evidence connected Abbott to the crime, and the accused coolly maintained his own innocence at trial and thereafter. (The Oakland Museum has an extensive collection of photographic negatives from the trial.)

Abbott convinced his mom, but not many others — see this comment thread, for instance.

His last hours on March 15 were a rush of activity for a defense team that had fought for any possible angle to avert his death. A flurry of communications to Gov. Goodwin Knight delayed the execution once, and then secured a second stay just as the Abbott was being prepared for his fate.

By the time the phone rang, Abbott was already shrouded in cyanide fumes.

Goodwin’s Secretary Joseph Babich: Has the execution started?
Warden Harley O. Teets: Yes, sir, it has.
Babich: Can you stop it?
Teets: No, sir, it’s too late.

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1941: Arndt Pekurinen, conscientious objector

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On this date in 1941, Finnish pacifist Arndt Pekurinen was executed at the front for refusing to fight.

Initially conscripted in the 1920’s, Pekurinen had refused to serve under arms and spent 1929-31 in prison for his troubles. He was a minor cause celebre; British MPs and big international names like Einstein and H.G. Wells pressed for his release.

A change in the Finnish conscription law — the bill was called the “Lex Pekurinen” — finally saw him freed to civilian life, but he was drafted anew to fight the Soviet Union in the “Continuation War”. When he again refused, he was shot at Suomussalmi without trial — though two men refused to do it before someone finally agreed to be the executioner.

“Kun ihmisiä ei syödä, on niitä turha teurastaa.”
(“As people are not eaten, butchering them is of no use.”)

A neglected figure during the Cold War, he’s enjoyed a latter-day rediscovery since the 1998 Erno Paasilinna book Courage: The life and execution of Arndt Pekurinen. In the decade since, Pekurinen has become a household name and a widely-admired figure. (The link is in Finnish.) A park in Helsinki was recently named for him. (Finnish again.)

Tangentially, the Nordic stock of our day’s victim and his era of militarism call to mind the hero of e.e. cummings’ “i sing of Olaf glad and big”. The allusions of this poem are American, and there’s no reason to associate it directly with Pekurinen — but it so happens that it was published in 1931, the year international pressure forced the end of Pekunin’s first prison stint:

i sing of Olaf glad and big
whose warmest heart recoiled at war:
a conscientious object-or

his wellbelovéd colonel(trig
westpointer most succinctly bred)
took erring Olaf soon in hand;
but–though an host of overjoyed
noncoms(first knocking on the head
him)do through icy waters roll
that helplessness which others stroke
with brushes recently employed
anent this muddy toiletbowl,
while kindred intellects evoke
allegiance per blunt instruments–
Olaf(being to all intents
a corpse and wanting any rag
upon what God unto him gave)
responds,without getting annoyed
“I will not kiss your fucking flag”

straightway the silver bird looked grave
(departing hurriedly to shave)

but–though all kinds of officers
(a yearning nation’s blueeyed pride)
their passive prey did kick and curse
until for wear their clarion
voices and boots were much the worse,
and egged the firstclassprivates on
his rectum wickedly to tease
by means of skilfully applied
bayonets roasted hot with heat–
Olaf(upon what were once knees)
does almost ceaselessly repeat
“there is some shit I will not eat”

our president,being of which
assertions duly notified
threw the yellowsonofabitch
into a dungeon,where he died

Christ(of His mercy infinite)
i pray to see;and Olaf,too

preponderatingly because
unless statistics lie he was
more brave than me:more blond than you.

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1803: Robert Emmet, “let no man write my epitaph”

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On this date in 1803, Irish nationalist Robert Emmet was hanged and posthumously beheaded, a day after his trial for treason against England.

The well-to-do scion of a Protestant family, Robert Emmet followed his older brother into the Republican ferment of the time and led an unavailing uprising in Dublin on July 23, 1803.

Captured a month later when he romantically recklessly moved his hideout closer to his beloved Sarah Curran.*

Emmet won his great laurels in the annals of Irish Republicanism with a stirring “Speech from the Dock” addressed to the courtroom the day before he died. Or better to say that it was addressed in a courtroom, for knowing that his death sentence was a foregone conclusion, the real audience was posterity and a wider world.

Emmet found that audience with one of the great orations of the 19th century.

This clip is a truncated version of a longer speech not set to paper by Emmet, so no single definitive version exists. Versions can be found at this Irish history site, and at SinnFein.ie.

I have but one request to ask at my departure from this world — it is the charity of its silence! Let no man write my epitaph: for as no man who knows my motives dare now vindicate them. let not prejudice or ignorance asperse them. Let them and me repose in obscurity and peace, and my tomb remain uninscribed, until other times, and other men, can do justice to my character; when my country takes her place among the nations of the earth, then, and not till then, let my epitaph be written. I have done.

On the strength of such sentiment — and the public’s learning of his love for Sarah Curran — the 25-year-old became iconic in death. Robert’s own death inspired the mandatory Irish patriotic ditty, “Bold Robert Emmet”:

But that sundered love between Emmet and Sarah Curran — who broken-heartedly accepted another proposal and moved to Sicily — was at least as stirring to the Romantic imagination. Washington Irving dedicated a short story to the lost romance; Emmet’s friend Thomas Moore made Curran the subject of a poem (beware: link opens an auto-playing audio file).


Anti-British terrorist Robert Emmet has a statue on Washington, D.C.’s Massachusetts Ave, and probably an entry on the no-fly list.

* 19th century Irish poet Thomas Moore paid her tribute in “She Is Far From the Land”:

She is far from the land where her young hero sleeps,
And lovers are round her, sighing:
But coldly she turns from their gaze, and weeps,
For her heart in his grave is lying.

She sings the wild song of her dear native plains,
Every note which he lov’d awaking; —
Ah! little they think who delight in her strains,
How the heart of the Minstrel is breaking.

He had liv’d for his love, for his country he died,
They were all that to life had entwin’d him;
Nor soon shall the tears of his country be dried,
Nor long will his love stay behind him.

Oh! make her a grave where the sunbeams rest,
When they promise a glorious morrow;
They’ll shine o’er his sleep, like a smile from the West,
From her ow lov’d island of sorrow.

Part of the Themed Set: Counterrevolution.

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1305: William Wallace, Braveheart

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On this date in 1305, Scottish knight Mel Gibson — er, William Wallace — was hanged, drawn and quartered at Smithfield for treason to a British crown he refused to recognize.

Just like so:

Well, close enough. Some wags have alleged one or two historical liberties in Braveheart.

Among the lesser (but more pertinent here): that they weren’t — you knew this already — offering the former Guardian of Scotland the opportunity to reduce his suffering with a public submission, or use the stage for theatrical defiance. Hanging, drawing and quartering was a brand new execution Edward I was experimenting with for emasculating, disemboweling, and (so the idea went) utterly cowing the rebellious hinterlands of the British Isles. Wallace may have been just the second person to suffer it.

But only a pointy-headed blogger could possibly care when the main point is that back before Christendom succumbed to nancy decadences like Vatican II, men wore woad, defenestrated queers, and tapped top-shelf babes.


Among the few things known for certain about William Wallace is that he did not score with Isabella of France. Or with Sophie Marceau.

Facts? This is show business!

Mel’s bloodbath only riffs the already-fantastic 15th century epic of “the Wallace” by Scottish minstrel Blind Harry, which in turn got a lyrical call-out in Robert Burns’ 18th century Scottish patriotic tune Scots Wha Hae.

National martyrs — and, sure, it helps to die at the right time, as Wallace did just before Robert the Bruce secured Scottish independence — feed a train of hungry authors and ready audiences in every time, place and medium.

However genuinely flesh-and-blood the limbs that wrought his feats and were torn apart on this day, Wallace returns to his generations of interlocutors half-shrouded in mythology. Seven centuries on, his contested (and sometimes absurd) use as precedent or metaphor stakes a claim to his Truth at least as compelling as battlefield tactics at Stirling Bridge. What does he “really” have to tell us? No matter how grisly his end, William Wallace doesn’t get to decide: it’s between you, me, Mel, and a few billion other folks.

Only a character really worth remembering is worth that kind of fictionalizing.

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1833: Captain Henry Nicholas Nicholls, sodomite

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On this date in 1833, Captain Henry Nicholas Nicholls was hanged in London for sodomy.

Sodomy — “buggery,” in the more evocative British phrase, often bowdlerized in court records as b-gg–y or the like — was a capital offense in England until 1861, when the penalty was reduced to “merely” life imprisonment.

The London Courier reported the event:

Captain Henry Nicholas Nicholls, who was one of the unnatural gang to which the late Captain Beauclerk belonged, (and which latter gentleman put an end to his existence), was convicted on the clearest evidence at Croydon, on Saturday last, of the capital offence of Sodomy; the prisoner was perfectly calm and unmoved throughout the trial, and even when sentence of death was passed upon him. In performing the duty of passing sentence of death upon the prisoner, Mr. Justice Park told him that it would be inconsistent with that duty if he held out the slightest hope that the law would not be allowed to take its severest course. At 9 o’clock in the morning the sentence was carried into effect. The culprit, who was fifty years of age, was a fine looking man, and had served in the Peninsular war. He was connected with a highly respectable family; but, since his apprehension not a single member of it visited him.

The popular broadside on the case was scarcely more sympathetic. [Here’s another version of the gallow lit]

Even though once or twice a year someone would hang for it and the scandal would send family fleeing his name, Old Blighty still had a vigorous underground gay scene in the 19th century. While Lord Byron was enjoying the easier same-sex access of the Ottoman lands, a friend wrote to him, “that what you get for £5 we must risque our necks for; and are content to risque them.” (Cited here)

Quite accidentally, the senseless destruction this day of a respectable veteran helped set the put-upon gay underground upon its long march towards mainstream acceptance.

A first-person narrative written* in 1833 under the name of Lord Byron (who was in fact nine years dead, but whose queer identity clearly informs the work), Don Leon was a signal piece of literature: the first overt literary defense of homosexuality in English.**

It opens with a scene said to be inspired by Captain Nicholls:

Thou ermined judge, pull off that sable cap!
What! Cans’t thou lie, and take thy morning nap?
Peep thro’ the casement; see the gallows there:
Thy work hangs on it; could not mercy spare?
What had he done? Ask crippled Talleyrand,
Ask Beckford, Courtenay, all the motley band
Of priest and laymen, who have shared his guilt
(If guilt it be) then slumber if thou wilt;
What bonds had he of social safety broke?
Found’st thou the dagger hid beneath his cloak?
He stopped no lonely traveller on the road;
He burst no lock, he plundered no abode;
He never wrong’d the orphan of his own;
He stifled not the ravish’d maiden’s groan.
His secret haunts were hid from every soul,
Till thou did’st send thy myrmidons to prowl,
And watch the prickings of his morbid lust,
To wring his neck and call thy doings just.

The author — whose identity is still debated† — continues writing more or less autobiographically of Byron’s life, and using his illicit desires and lifestyle (with digressions into historical precedent) to defend homosexuality as ultimately natural and harmless.

The tree we plant will, when its boughs are grown,
Produce no other blossoms than its own;
And thus in man some inborn passions reign
Which, spite of careful pruning, sprout again.
Then, say, was I or nature in the wrong,
If, yet a boy, one inclination, strong
In wayward fancies, domineered my soul,
And bade complete defiance to control?

…

Though law cries “hold!” yet passion onward draws;
But nature gave us passions, man gave laws,
Whence spring these inclinations, rank and strong?
And harming no one, wherefore call them wrong?
What’s virtue’s touchstone? Unto others do,
As you would wish that others did to you.
Then tell me not of sex, if to one key
The chords, when struck, vibrate in harmony.
No virgin I deflower, nor, lurking, creep,
With steps adult’rous, on a husband’s sleep.
I plough no field in other men’s domain;
And where I delve no seed shall spring again.

…

Look, how infected with rank disease
Were those, who held St. Peter’s holy keys,
And pious men to whom the people bowed,
And kings, who churches to the saints endowed;
All these were Christians of the highest stamp-
How many scholars, wasting over their lamp,
How many jurists, versed in legal rules,
How many poets, honoured in the schools,
How many captains, famed for deeds of arms,
Have found their solace in a minion’s arms!
Nay, e’en our bard, Dame Nature’s darling child,
Felt the strange impulse, and his hours beguiled
In penning sonnets to a stripling’s praise,
Such as would damn a poet now-a-days.
To this conclusion we must come at last:
Wise men have lived in generations past,
Whose deeds and sayings history records,
To whom the palm of virtue she awards,
Who, tempted, ate of that forbidden tree,
Which prejudice denies to you and me.
Then be consistent; and, at once confess,
If man’s pursuit through life is happiness,
The great, the wise, the pious, and the good,
Have what they sought not rightly understood;
Or deem not else that aberration crime,
Which reigns in every caste and every clime.

…

To this conclusion we must come at last:
Wise men have lived in generations past,
Whose deeds and sayings history records,
To whom the palm of virtue she awards,
Who, tempted, ate of that forbidden tree,
Which prejudice denies to you and me.
Then be consistent, and, at once confess;
If man’s pursuit through life is happiness,
The great, the wise, the pious, and the good,
Have what they sought not rightly understood;
Or deem not else that aberration crime,
Which reigns in every caste and every clime.
…

Statesmen, in your exalted station know
Sins of omission for commission go;
Since ships as often founder on the main
From leaks unstopped as from the hurricane.
Shore up your house; it totters to the base;
A mouldering rot corrodes it; and the trace
Of every crime you punish I descry:
The least of all perhaps is sodomy.

…

I stand a monument, whereby to learn
That reason’s light can never strongly burn
Where blear-eyed prejudice erects her throne,
And has no scale for virtue but her own.

* Don Leon circulated initially in manuscript form, and was not published in England until years later — a known printing in 1866, and possibly another lost edition from before 1853.

** Here lagging well behind France, which had burned only a bare handful of homosexuals under monarchist anti-sodomy laws in the 18th century, and decriminalized homosexuality full stop in 1791. In Philosophy in the Boudoir the Marquis de Sade preened casually triumphant over the bad old days while Lord Byron was still a boy.

We wonder that savagery could ever reach the point where you condemn to death an unhappy person all of whose crime amounts to not sharing your tastes … Nature, who places such slight importance upon the essence that flows in our loins, can scarcely be vexed by our choice when we are pleased to vent it into this or that avenue.

† Candidates include parliamentarian William Bankes, who was arrested for sodomy in 1833 but acquitted later in the year; fellow MP John Cam Hobhouse; and playwright and Byron-idolizer George Coleman.

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1794: Andre Chenier, poet

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On this date in 1794, proto-Romantic poet Andre Chenier went to the guillotine the unfortunate victim of his father’s love.

In the operatic version of this Istanbul-born poet‘s life story, Chenier is accused by a rival in love, convicted, and guillotined the next day together with his beloved Maddalena, who effects a Sydney Carton-like swap into the lot of the condemned in order to share his fate.

Chenier’s real end was both more mundane, and far more tragic.

A revolutionary of the constitutional monarchist variety and an open opponent of the Jacobins bold enough to compose an ode to Marat’s murderess, Chenier had spent a year staying out of sight when the police picked him up almost accidentally.

Prisoners suffocating in the Paris jails were suspended horribly between life and death, but the anonymity of this living tomb offered — as with Tom Paine — a measure of occasional safety.

When Chenier’s father blunderingly appealing to the authorities for his son, he accidentally stripped away that anonymity. Chenier had been under lock and key for three-plus months — writing, the whole time, in minuscule letters on scraps of paper he arranged to have smuggled out to his father — but once reminded of the writer’s existence, the authorities promptly had it snuffed out. (A friend and fellow poet, Jean-Antoine Roucher, shared his tumbril.)

Chenier’s prison verses are among the most affecting of his 32 years — like the acidic Iambes blistering his persecutors, and the heartbreaking “La Jeune Captive”, in which he gives voice to the young fellow-prisoner who has smitten him, excerpted here:

Mon beau voyage encore est si loin de sa fin!
Je pars, et des ormeaux qui bordent le chemin
J’ai passé les premiers à peine.
Au banquet de la vie à peine commencé,
Un instant seulement mes lèvres ont pressé
La coupe en mes mains encor pleine.

Je ne suis qu’au printemps, je veux voir la moisson;
Et comme le soleil, de saison en saison,
Je veux achever mon année.
Brillante sur ma tige et l’honneur du jardin,
Je n’ai vu luire encor que les feux du matin:
Je veux achever ma journée.

Chenier was not broadly published or extremely well-known in his own lifetime; many critics think he was pinched out while still maturing. The poet himself told a friend in parting, “I leave nothing for posterity; and yet, (touching his forehead) I had something there.” In the backstory to one of the tales in Balzac’s La Comedie Humaine, a grocer who annoys one of Robespierre‘s associates is also among this day’s batch and arouses more notice than the man of letters:

Though Descoings died, he had the honour, at any rate, of going to the scaffold with Andre de Chenier. There, no doubt, grocery and poetry embraced for the first time in the flesh; for they have always had, and will always have, their private relations. Descoings’ execution made a far greater sensation than Andre de Chenier’s. Thirty years elapsed before it was recognised that France had lost more by Chenier’s death than by that of Descoings.

Robespierre’s sentence had this good result — until 1830 grocers were still afraid of meddling in politics.

The salutary effect upon grocers has long faded, but Chenier’s reputation has steadily ripened like wine since his demise. And the title part of the late-19th century opera Andrea Chenier — however scant its resemblance to the man who inspired it — is one of the most gorgeous tenor roles in opera.

Part of the Themed Set: Thermidor.

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1881: Not Billy the Kid

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“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:

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