Quentin Durward. Вальтер Скотт

cruelties inflicted on others by his order; and considering both, comes to express an opinion that the worldly pangs and agony suffered by Louis were such as might compensate the crimes he had committed, and that, after a reasonable quarantine in purgatory, he might in mercy he found duly qualified for the superior regions… The instructive but appalling scene of this tyrant’s sufferings was at length closed by death, 30th August, 1483.

      The selection of this remarkable person as the principal character in the romance – for it will be easily comprehended that the little love intrigue of Quentin is only employed as the means of bringing out the story – afforded considerable facilities to the author. In Louis XI’s time, extraordinary commotions existed throughout all Europe. England’s Civil Wars were ended, rather in appearance than reality, by the short lived ascendancy of the House of York. Switzerland was asserting that freedom which was afterwards so bravely defended. In the Empire and in France, the great vassals of the crown were endeavouring to emancipate themselves from its control, while Charles of Burgundy by main force, and Louis more artfully by indirect means, laboured to subject them to subservience to their respective sovereignties. Louis, while with one hand he circumvented and subdued his own rebellious vassals, laboured secretly with the other to aid and encourage the large trading towns of Flanders to rebel against the Duke of Burgundy, to which their wealth and irritability naturally disposed them. In the more woodland districts of Flanders, the Duke of Gueldres, and William de la Marck, called from his ferocity the Wild Boar of Ardennes, were throwing off the habits of knights and gentlemen to practise the violences and brutalities of common bandits.

      [Chapter I gives a further account of the conditions of the period which Quentin Durward portrays.]

      A hundred secret combinations existed in the different provinces of France and Flanders; numerous private emissaries of the restless Louis, Bohemians, pilgrims, beggars, or agents disguised as such, were everywhere spreading the discontent which it was his policy to maintain in the dominions of Burgundy.

      Amidst so great an abundance of materials, it was difficult to select such as should be most intelligible and interesting to the reader: and the author had to regret, that though he made liberal use of the power of departing from the reality of history, he felt by no means confident of having brought his story into a pleasing, compact, and sufficiently intelligible form. The mainspring of the plot is that which all who know the least of the feudal system can easily understand, though the facts are absolutely fictitious. The right of a feudal superior was in nothing more universally acknowledged than in his power to interfere in the marriage of a female vassal. This may appear to exist as a contradiction both of the civil and canon laws, which declare that marriage shall be free, while the feudal or municipal jurisprudence, in case of a fief passing to a female, acknowledges an interest in the superior of the fief to dictate the choice of her companion in marriage. This is accounted for on the principle that the superior was, by his bounty, the original granter of the fief, and is still interested that the marriage of the vassal shall place no one there who may be inimical to his liege lord. On the other hand, it might be reasonably pleaded that this right of dictating to the vassal to a certain extent in the choice of a husband, is only competent to the superior from whom the fief is originally derived. There is therefore no violent improbability in a vassal of Burgundy flying to the protection of the King of France, to whom the Duke of Burgundy himself was vassal; not is it a great stretch of probability to affirm that Louis, unscrupulous as he was, should have formed the design of betraying the fugitive into some alliance which might prove inconvenient, if not dangerous, to his formidable kinsman and vassal of Burgundy.

      [Some of these departures from historical accuracy, as when the death of the Bishop of Liege is antedated, are duly set forth in the notes. It should be mentioned that Mr. J. F. Kirk, in his elaborate History of Charles the Bold, claims that in some points injustice has been done to the Duke in this romance. He says: “The faults of Charles were sufficiently glaring, and scarcely admitted of exaggeration; but his breeding had been that of a prince, his education had been better than that of other princes of his time, his tastes and habits were more, not less, refined than theirs, and the restraint he imposed upon his sensual appetites was as conspicuous a trait as his sternness and violence.”]

      Abbotsford, 1830.

      Quentin Durward was published in June, 1823, and was Scott’s first venture on foreign ground. While well received at home, the sensation it created in Paris was comparable to that caused by the appearance of Waverley in Edinburgh and Ivanhoe in London. In Germany also, where the author was already popular, the new novel had a specially enthusiastic welcome. The scene of the romance was partly suggested by a journal kept by Sir Walter’s dear friend, Mr. James Skene of Rubislaw, during a French tour, the diary being illustrated by a vast number of clever drawings. The author, in telling this tale laid in unfamiliar scenes, encountered difficulties of a kind quite new to him, as it necessitated much study of maps, gazetteers, and books of travel. For the history, he naturally found above all else the Memoirs of Philip de Comines “the very key of the period,” though it need not be said that the lesser chroniclers received due attention. It is interesting to note that in writing to his friend, Daniel Terry, the actor and manager, Scott says, “I have no idea my present labours will be dramatic in situation; as to character, that of Louis XI, the sagacious, perfidious, superstitious, jocular, politic tyrant, would be, for a historical chronicle containing his life and death, one of the most powerful ever brought on the stage.” So thought the poet, Casimir Delavigne – writing when Scott’s influence was marked upon French literature – whose powerful drama, Louis XI, was a great Parisian success. Later Charles Kean and Henry Irving made an English version of it well known in England and America.

      CHAPTER I: THE CONTRAST

      Look here upon this picture, and on this,

      The counterfeit presentment of two brothers.

HAMLET

      The latter part of the fifteenth century prepared a train of future events that ended by raising France to that state of formidable power which has ever since been from time to time the principal object of jealousy to the other European nations. Before that period she had to struggle for her very existence with the English already possessed of her fairest provinces while the utmost exertions of her King, and the gallantry of her people, could scarcely protect the remainder from a foreign yoke. Nor was this her sole danger. The princes who possessed the grand fiefs of the crown, and, in particular, the Dukes of Burgundy and Bretagne, had come to wear their feudal bonds so lightly that they had no scruple in lifting the standard against their liege and sovereign lord, the King of France, on the slightest pretence. When at peace, they reigned as absolute princes in their own provinces; and the House of Burgundy, possessed of the district so called, together with the fairest and richest part of Flanders, was itself so wealthy, and so powerful, as to yield nothing to the crown, either in splendour or in strength.

      In imitation of the grand feudatories, each inferior vassal of the crown assumed as much independence as his distance from the sovereign power, the extent of his fief, or the strength of his chateau enabled him to maintain; and these petty tyrants, no longer amenable to the exercise of the law, perpetrated with impunity the wildest excesses of fantastic oppression and cruelty. In Auvergne alone, a report was made of more than three hundred of these independent nobles, to whom incest, murder, and rapine were the most ordinary and familiar actions.

      Besides these evils, another, springing out of the long continued wars betwixt the French and English, added no small misery to this distracted kingdom. Numerous bodies of soldiers, collected into bands, under officers chosen by themselves, from among the bravest and most successful adventurers, had been formed in various parts of France out of the refuse of all other countries. These hireling combatants sold their swords for a time to the best bidder; and, when such service was not to be had, they made war on their own account, seizing castles and towers, which they used as the places of their retreat, making prisoners, and ransoming them, exacting tribute from the open villages and the country around them – and acquiring, by every species of rapine, the appropriate epithets of Tondeurs and Ecorcheurs, that is, Clippers and Flayers.

      In the midst of the horrors and miseries arising from so distracted a state of public affairs, reckless and profuse expense distinguished the courts of the lesser nobles, as well as