In Byways of Scottish History
After having penned this interesting and well-meaning epistle, the Queen communicated it to Mary Seton, to whom, however, it did not appear a fair statement of the case, and for whose satisfaction a postscript was added: —
I have shown the above to the maiden, and she accuses me of over-partiality in this, that for shortness' sake, I have omitted some of the circumstances of her dutiful submission to me, in making which she still entertained a hope that some regard should be had for her vow, even though it prove to be null, and that her inclination should also be consulted, which has long been, and more especially since our captivity, rather in favour of remaining in her present state than of entering that of marriage. I have promised her to set this before you, and to give it, myself, that consideration which is due to her confidence in me. Furthermore, I have assured her that, should I be led to persuade her to enter into that state which is least agreeable to her, it would only be because my conscience told me that it was the better for her, and that there was no danger of the least blame being attached to her. She makes a great point of the disparity of rank and titles, and mentions in support of this that she heard fault found with the marriage of the sisters Livingston, merely for having wedded the younger sons of their peers, and she fears that, in a country where such formalities are observed, her own friends may have a similar opinion of her. But, as the Queen of both of them, I have undertaken to assume the whole responsibility, and to do all that my present circumstances will allow, to make matters smooth. You need, therefore, take no further trouble about this, beyond getting her brother to let us know his candid opinion.
With his mistress's good wishes, and with innumerable commissions from her ladies, Andrew Beton set out on his mission. Whether the dispensation was less easy to obtain than he at first fancied, or whether other circumstances, perhaps of a political nature, arose to delay him, twice the three months within which he had undertaken to return to Sheffield had elapsed before information of his homeward journey was received. He had been successful in obtaining a theological opinion favourable to his suit, but it appeared that Mary Seton's objections to matrimony were not to be removed with her vow. This seems to be the meaning of a letter written to Beton by Mary Stuart, in which, after telling him that she will postpone the discussion of his affairs till his return, she pointedly adds that Mary Seton's letters to him must have sufficiently informed him as to her decision, and that she herself, though willing to help him by showing her hearty approval of the match, could give no actual commands in the matter. A similar letter to the Archbishop seems to point to a belief on Mary's part that, in spite of the dispensation, the match would never be concluded, and that Beton would meet with a bitter disappointment on his return to Sheffield. It was destined, however, that he should never again behold either his royal lady or her for whom he had undertaken the journey. He died on his way homewards; but we have no knowledge where or under what circumstances. The first intimation of the event is contained, as are, indeed, most of the details belonging to this period, in the Queen's correspondence. In a letter bearing the date of the 5th of November she expresses to the Archbishop her regret at the failure of her project to unite the Betons and the Setons, as well as at the personal loss she had sustained by the death of a faithful subject and servant.104
With this episode our knowledge of Mary Seton's history is nearly exhausted. There is no further reference to her in the correspondence of the next six years, during which she continued to share her Queen's captivity. About the year 1583, when her own health had broken down under the hardships to which she was subjected in the various prisons to which she followed Mary Stuart, she begged and obtained permission to retire to France. The remainder of her life was spent in the seclusion of the abbey of St. Peter's, at Rheims, over which Renée de Lorraine, the Queen's maternal aunt, presided.
The last memorial which we have of Mary Seton is a touching proof of the affection which she still bore her hapless Queen, and of the interest with which, from her convent cell, she still followed the course of events. It is a letter, written in October, 1586, to Courcelles, the new French Ambassador at Holyrood; it refers to her long absence from Scotland, and concludes with an expression of regret at the fresh troubles which had befallen the captive Queen.
I cannot conclude without telling you the extreme pain and anxiety I feel at the distressing news which has been reported here, that some new trouble has befallen the Queen, my mistress. Time will not permit me to tell you more.105
It may be supposed that what the faithful maid of honour had heard was connected with Babington's conspiracy and its fateful failure.
THE SONG OF MARY STUART
An Undetected ForgeryThose who are acquainted with Brantôme's delightful collection of biographical sketches of Illustrious Ladies, will remember that one of the most noteworthy of them is devoted to Marie Stuart. In it, amongst many other interesting details, he states that the Queen used to compose verses, and that he had seen some "that were fine and well done, and in no wise similar to those which have been laid to her account, on the subject of her love for the Earl of Bothwell, and which are too coarse and ill-polished to have been of her making". In another passage he says that Mary "made a song herself upon her sorrows"; and he quotes it.106 For close on two centuries and a half the "Chanson de Marie Stuart", as given by him, has been reproduced in biographies of the Queen of Scots, and has found its way into numberless albums and anthologies. That it should have been accepted without hesitation on Brantôme's authority is hardly surprising. Of those who have written from personal acquaintance with Mary, few were in a better position than was the French chronicler to know the truth about her. He remembered her from her very childhood. He was familiar with all the circumstances of her training and education at Saint-Germain. He had witnessed the precocious development of the talents which excited the admiration of the courtiers that gathered about Henry II and Catharine de' Medici. He did not lose sight of her when, at a later date, her marriage with the heir to the crown of France gave her a household of her own in the stately residence of Villers-Côterets. He witnessed the enthusiasm which greeted her as Queen-Consort, as well as the deep and universal sympathy which her early bereavement called forth; and when the "White Queen", the dowager of seventeen, left the country of her affection to undertake the heavy task of governing her northern kingdom, he was amongst those who accompanied her on her fateful journey. In the circumstances, it did not occur, even to those who, knowing Brantôme's character, might feel that much allowance was to be made for the conventional enthusiasm of the courtier, to suspect that any of his statements concerning Mary Stuart was to be rejected as wholly devoid of foundation. And yet, we are in a position to prove that, in one instance, he asserted what he knew to be false; and we shall follow that up by producing the strongest evidence in support of the further charge that he was guilty of a literary forgery.
In his sketch of Mary Stuart, Brantôme does not place her "Song" where it would most naturally be looked for, that is, immediately after the passage in which he refers to her poetical talent. He introduces it clumsily, and in a way which, though perhaps not sufficient of itself to justify suspicion, is, at least, calculated to strengthen it when once it has been aroused. He begins by giving a description of the Queen, as she appeared in her white widow's weeds. "It was", he says, "a beautiful sight to see her, for the whiteness of her face vied for pre-eminence with the whiteness of her veil. But, in the end, it was the artificial whiteness of her veil that had to yield, and the snow of her fair complexion effaced the other. And so there was written at Court a song about her in her mourning garments. It was thus: " and here the anonymous poem is quoted. It consists of two stanzas, each containing six short lines. They depict the Goddess of Beauty, attired in white, wandering about, with the shaft of her inhuman son in her hand, whilst Cupid himself is fluttering over her, with the bandage, which he has removed from his eyes, doing duty as a funereal veil on which are inscribed the words: "Mourir ou estre pris". These verses, in which it is difficult to discover any special application to the widowed Queen, are followed, though not immediately, by a reference to her bereavement: "Hers was a happiness of short duration, and one which evil fortune might well have respected on this occasion; but, spiteful as she is, she would not be deterred from thus cruelly treating the Princess, who herself composed the following song on her loss and affliction". The poem thus attributed to Mary is then brought in. It consists of the eleven well-known stanzas, and begins with the line "En mon triste et doux chant" – "In my sad and sweet strains". Nobody ever thought of questioning its genuineness. The obviously fragmentary nature of the first poem, and the similarity of rhythm and metre in both did not suggest the possibility of a connection between them. Nor did it appear to be incongruous and in bad taste that, if the Queen undertook to write her own elegy, she should begin by praising its sweetness. A comparatively recent discovery, however, has placed it beyond doubt that Brantôme wittingly foisted on his readers verses which he very well knew had not been written by Mary Stuart.
Some years ago, whilst hunting through the dusty shelves of an old bookshop at Périgueux, Dr. E. Galy chanced upon a manuscript collection of poems of the sixteenth century. The gilt-edged and leather-bound folio was found to consist of two distinct parts. The first contained, together with a few anonymous poems, extracts from the works of Clément Marot, Pierre de Ronsard, and other writers of the period. The second, and, from the literary point of view, more interesting section was made up of a number of poems, chiefly sonnets, composed by Brantôme, and bearing the general title: Recueil d'aulcunes rymes de mes Jeunes Amours que j'ay d'aultres fois composées telles quelles, that is, "Collection of Certain Rhymes of my early loves, which I formerly composed, such as they are". This portion of the manuscript was published for private circulation, by the fortunate finder, to whose kindness we were indebted for a copy of the first edition of the hitherto unsuspected poetical works of Pierre de Bourdeille, Lord Abbot of Brantôme, Baron of Richemont.107
In the first division of the collection a very interesting discovery was made. It was found to contain both the anonymous "Song" composed "at Court", in honour of Mary Stuart, and the "Song" attributed to the Queen herself. The two poems, it was now seen, were not originally distinct, the anonymous verses being merely an introduction to the longer "Song", and joined to it by three stanzas, which are neither quoted nor alluded to in Brantôme's sketch of Mary. In its new form, and as it was published in a very limited edition of one hundred copies by Dr. Galy, the Chanson pour la Royne d'Ecosse portant le dueil,108 is by no means a masterpiece. It has, however, the merit of composing an harmonious whole. The "Complaint" is preceded by an introduction which, both as regards its length and the train of thought running through it, is not out of keeping with the subject. It is followed by a concluding stanza, which, though not absolutely necessary, gives fullness and completeness to the picture called up by the elegy. One advantage which the new version of the longer song possesses over the old is the modification of the first jarring line. "En mon triste et doux chant," becomes "J'oy son triste et doux chant," that is, "I hear her sad and sweet strains". This reading adapts itself to the context, and connects the descriptive stanzas with those of the lament in a simple and natural manner.
As Dr. Galy pointed out, the new version of the "Song", to which, it should be stated, no author's name is attached, established, on the authority of Brantôme himself, that he had attributed to Mary Stuart verses which he knew were not hers. It did not, however, afford any clue to the real authorship, and the possibility that the whole poem was of Brantôme's own composition does not seem to have occurred to Dr. Galy. That such is the case is our firm belief. A careful comparison of the anonymous "Chanson" with the various poems avowedly by Brantôme has revealed such similarity, not only of thought and imagery, but even of expression, as convinces us that nobody but himself can be the author of The Song of Mary Stuart.
The 102nd sonnet in Brantôme's collection is one which he addressed to Mlle de Limeuil. Not only is the whole tone of it strikingly similar to that of the "Song", but it contains passages which cannot be explained away on the assumption of mere chance resemblance. Thus, in the thirteenth stanza of the "Song", Mary is represented as seeing her husband if she happens to look into the water: "Soudain le voy en l'eau". In the sonnet, Brantôme says; "Soudain il m'advise qu'en l'eau je voy Limeuil". In the first part of the same stanza, the mourning Queen is supposed to behold in the clouds the features of her lost husband. The same idea, expressed in similar language, and with precisely the same rhymes, occurs in some stanzas which Brantôme addressed to a lady "Sur un ennuy qui luy survint". The main idea of the "Song" – that of the sorrowing lady followed by the image of her lost love, wherever she may wander – recurs repeatedly in the sonnets, of which, indeed, several may, without exaggeration, be described as mere expansions of some of the lines in the "Song". Altogether, we have noted distinct parallelisms to five of the stanzas in the alleged "Chanson". When it is remembered that, as Brantôme gives it, it consists of no more than eleven stanzas, the proportion must appear striking. In addition to this, it must also be noted that, in the eleven stanzas of the lament itself, there are a number of variants – we have counted nine altogether – which, not being attributable to inaccurate copying, or necessary for mere adaptation, testify to a deliberate revision, hardly likely to have been the work of anyone but the original author. In the face of such evidence it seems to us that no alternative is left, and that we must place Brantôme on the same level as Meunier de Querlon, who published the once popular song, "Adieu, plaisant pays de France," and attributed it to Mary Stuart, though he was himself the author of it. Indeed, of the two, Brantôme is the less excusable; for, in his case, it cannot be pleaded as an extenuating circumstance, as it can in that of de Querlon, that he subsequently acknowledged his "mystification". In any case, there seems to be no reasonable doubt that we must diminish by one the number of poems hitherto believed to have been written by Mary Stuart.
Though the "Song" can no longer claim the authorship of Mary Stuart, it still retains some interest by reason of its strange story. To the best of our knowledge, the original and complete poem, of which, as we have stated, only 100 copies were published in France, for private circulation, has never been reproduced in this country. We therefore append it.
CHANSON POUR LA ROYNE D'ECOSSE PORTANT LE DUEILJe voy, sous blanc atour,En grand dueil et tristesse,Se pourmener maint tourDe beauté la Déesse;Tenant le traict en mainDe son filz inhumain.IIEt Amour, sans fronteau.Vollette à l'entour d'elle,Desguisant son bandeauEn un funébre voelleOù sont ces mots escrits:"Mourir ou estre pris".IIIDeux arcs victorieuxJe voy sous blanche toyle,Et sous chacun d'iceuxUne plus claire estoilleQu'au plus net et pur aërDu ciel l'astre plus clair.IVEt du haut d'un rocher,Je voy singlant maint voileD'un fanal s'approcher,Dont la clarté est telleQue sans elle tous lieuxMe semblent ténébreux.VJe voy, d'ordre marchant,Une troupe dolentePeu à peu s'approchantD'une Dame excellente,Qui de piteuse voixFait retentir un bois.VIJ'oy son triste et doux chant,Qui, d'un ton lamentable,Jette un regret trenchantDe perte incomparable,Et, en souspirs cuisantsPasse ses meilleurs ans.VII"Fut-il de tel malheurDe dure destinée,Ne si juste douleurDe Dame fortunée,Qui mon cœur et mon œilVoy en biére et cercueil!VIII"Qui, en mon doux printempsEt fleur de ma jeunesse,Toutes les peines sensD'une extrême tristesse,Et en rien n'ay plaisirQu'en regret et désir.IX"Ce qui m'estoit plaisantOres m'est peine dure,Le jour le plus luisantM'est nuit noire et obscure,Et n'est rien si exquis.Qui de moi soit requis.X"J'ay au cœur et en l'œilUn portraict et imageQui figure mon dueilEn mon pasle visageDe violettes teint,Qui est l'amoureux teint.XI"Pour mon mal estrangerJe ne m'arreste en place,Mais j'ai beau lieu changerSi ma douleur j'efface,Car mon pis et mon mieuxSont les plus déserts lieux.XII"Si en quelque séjourSuis, en bois ou en préeSoit sur l'aube du jourOu soit sur la vesprée,Sans cesse mon cœur sentLe regret d'un absent.XIII"Si parfois vers les cieuxViens à dresser ma veüe,Le doux traict de ses yeuxJe voy en une nue;Soudain le voy en l'eauComme dans une tombeau.XIV"Si je suis en repos,Sommeillant sur ma couche,J'oy qu'il me tient propos,Je le sens qui me touche;En labeur ou requoyToujours est prés de moi.XV"Je ne voy autre objectPour beau qu'il se présente;A qui que soit subjectOncques mon cœur consente,Exempt de perfectionA ceste affection.XVI"Mets, chanson, icy frainA si triste complainte,Dont sera le refrain:'Amour vraye et non fainctePour séparationN'a diminution'."XVIITel estoit le doux chantDe Dame souveraine,Qui, mon cœur arrachantD'une fuite soudaine,Me donna en ce lieuCoup mortel d'un Adieu.We recall that the stanzas which we have numbered I and II constitute the Song which, according to Brantôme, was composed "at Court"; and that those from VI to XVI, inclusively, are, with an alteration of the first line, and some slight variations elsewhere, what he called the Song of Mary Stuart herself. The title, the three connecting stanzas III-V, and also the last, XVII, were discovered in the Périgueux manuscript
MAISTER RANDOLPHE'S FANTASIE109
A Suppressed SatireAbout the middle of May, 1566, Robert Melvill was dispatched by Mary, Queen of Scots, as a special envoy to the English Court. The ostensible purpose of his mission was to request Queen Elizabeth to stand godmother to the royal infant whose birth was shortly expected.110 And it was, indeed, with this object that his journey had, in the first instance, been resolved upon. But, three or four days before the time originally fixed for his departure,111 he had been hastily summoned to Holyrood and ordered to set out at once, and with all speed, on an errand of a very different kind. According to the tenor of his later instructions, he was the bearer not of a friendly message from Mary Stuart to her loving cousin, but of a bitter complaint from the Queen of Scotland to the English sovereign. Mary had been informed by one of her agents at Berwick that "there was a booke wrytten agaynst her, of her lyf and govermente".112 Though possessing no actual knowledge of the contents of the obnoxious libel and acquainted with its general tone and purport only, she had "taken it so grevouslye as nothy¯ge of longe time had come so near her hearte".113 Not only did she resent the insult as a sovereign, but she also felt the outrage as a woman, and expressed her fear lest, having come to her so suddenly and at so critical a time, the unwelcome intelligence "sholde breed daynger to her byrthe or hurte to her selfe".114 And Melvill had been hurried off to London to inform Elizabeth of the crime committed by one of her subjects, "that in tyme this worke mighte be suppressed and",115 more important still, "condign punishment taken upon the wryter"; for by this means alone, the indignant Queen declared, could it be made apparent that he was not "mayntayned against her, not only by advise and counsell to move her subiects agaynste her, but also by defamations and falce reports mayke her odious to the werlde".116
The work at which such grievous offence had been taken was entitled Maister Randolphe's Fantasie, and the informant who had given Mary notice of its publication had also assured her that it was in reality what it purported to be, the production of the agent who, till within a short time previously, had represented England at the Scottish Court. She accepted the charge without question and without doubt. In her mind Thomas Randolph was associated with all the intrigues which had culminated in the open defection and organized opposition of the most powerful of her nobles, and she felt conscious of having treated him with a harshness calculated to add an ardent desire for revenge to the malevolent intentions by which she believed him to be actuated. During the last six months of his residence in Edinburgh he had been subjected to a series of petty vexations, of personal attacks and of open accusations, which even his avowed partisanship could not justify, and which were not less discreditable to the instigators of them than insulting to the sovereign whom he represented. On the formation of the league to which Mary's marriage with Darnley had given rise he had been threatened with punishment "for practising with the Queen's rebels".117 Mary herself had shown her displeasure in so marked a manner that Randolph had sent to England a formal complaint of the difficulties thrown into his way by her refusal to give him access to her presence, even on official business.118 When at last she did grant him an audience, it was not for purposes of political negotiation, but solely to upbraid him "for his many evil offices" towards her.119 The dread of immediate imprisonment,120 and the personal violence to which he was actually subjected,121 had rendered his position so intolerable that he petitioned for permission to retire to Berwick.122 His request was denied him; but the consequences of the refusal soon showed how ill-advised had been the action of those who had insisted upon his continuance in functions for which he now lacked the essential conditions of favour and security. In the beginning of the following year he was summoned before the Queen in Council, and publicly accused of abetting the Earl of Murray in his treasonable designs, and supplying him with funds to carry them out.123 In spite of his direct and explicit denial of a charge which was in reality without foundation, he was ignominiously ordered to leave the country.124 Anxious as he had been to be relieved from duties which had become as dangerous as they were difficult, Randolph nevertheless refused to obey. He appealed from Mary and her Lords to Elizabeth, to the sovereign to whom he owed his allegiance, and was answerable for his conduct, by whose favour he had been appointed to a position of confidence and honour, and at whose command alone he would consent to surrender his trust. On hearing the slight which had been put upon her accredited representative, the Queen of England took up his cause with characteristic promptitude and energy. She at once dispatched a letter to the Queen of Scots complaining "of her strange and uncourteous treatment of Mr. Randolph",125 and informing her that his departure from Edinburgh would be the signal for the dismissal of the Scottish agent from the English Court. In spite of Elizabeth's remonstrances, and in the face of a threat which was so far from being idly meant that it was peremptorily carried out less than a fortnight later,126 Randolph's expulsion was insisted upon. After having twice again received orders from the Lords,127 he at length yielded to necessity and retired across the Border to Berwick.
That Randolph, smarting under such treatment, should have made use of his enforced leisure and of the knowledge which he had had special opportunities for acquiring to write a book by which he hoped to injure her cause and tarnish her reputation, doubtless seemed to Mary to be so natural that she deemed it unnecessary to institute further enquiries into the truth of the charge brought against him. His guilt was assumed as soon as the accusation was made, and, by a singular coincidence, if, indeed, it was not of set purpose, the same Minister whose dismissal had followed his own disgrace was sent back to Elizabeth to demand his punishment.