The Mystery of Mary Stuart. Lang Andrew

---

Скачать книгу

---

If ‘the remanent letters’ are the Casket Letters, and if Bowton, at Dunbar, had seen them with the band, and read them, his evidence would have been valuable as to the Letters. But as things are, we have merely his opinion, or ‘understanding,’ that certain letters were kept with the band, as Drury, we know, asserted that it was in the Casket with the other papers, and was destroyed, while the Letters attributed to Mary ‘were kept to be shown.’ Of course, if this be true, Morton lied when he said that the contents of the Casket had neither been added to nor diminished.

      Next, Bowton denied that, to his knowledge, Bothwell and Balfour met at the Kirk o’ Field, while Mary was at Glasgow, or at any other time. If Bowton is right, and he was their go-between, Paris lied in his Deposition where he says that Bothwell and Sir James had passed a whole night in Kirk o’ Field, while Mary was at Glasgow.[3]

      Bowton’s confession that Morton ‘should have sent two men to the committing of the murder,’ explains the presence of Archibald Douglas, Morton’s cousin, with Binning, his man. These two represented Morton. Finally, Bowton’s confession in the Cambridge MS. joins the copy of his confession put in at Westminster, on the point of the fourteen false keys of Kirk o’ Field, thrown by Bowton into a gravel hole. Unless then the Cambridge MS. is rejected, the Lord Justice Clerk and Moray deliberately suppressed evidence which proved that Moray was allied with two of Darnley’s murderers in prosecuting his sister for that crime. Such evidence, though extant, Moray, of course, dared not produce, but must burke at Westminster.

      I have shown in the text (p. 144) that, even on Bowton’s evidence as produced at Westminster, Moray was aware that Bothwell had allies among the nobles, but that, as far as the evidence declares, he asked no questions. But the Cambridge MS. proves his full knowledge, which he deliberately suppressed. The Cambridge MS. must either have been furnished to Lennox, before the sittings at Westminster; or must have been the original, or a copy of the original, later supplied to Dr. Wilson while preparing Buchanan’s ‘Detection,’ the ‘Actio,’ and other documents for the press in November 1571.[4] It will be observed that when Lethington was accused of Darnley’s murder, in September 1569, Moray could not well have prosecuted him to a conviction, as his friends, Atholl and Kirkcaldy, having been present at Bowton’s examination, knew that Moray knew of Lethington’s guilt, yet continued to be his ally. The Cambridge copy of the deposition of Hay of Tala contains no reference to the guilt of Morton or Lethington; naturally, for Morton was present at Hay’s examination. Finally, the evidence of Binning, in 1581, shows that representatives of Lethington and Balfour, as well as of Morton, were present at the murder, as Bowton, in his suppressed testimony, says had been arranged.

      It is therefore clear that Moray, in arraigning his sister with the aid of her husband’s assassins, could suppress authentic evidence. Mary’s apologists will argue that he was also capable of introducing evidence less than authentic.

       I

      DRAMATIS PERSONÆ

      History is apt to be, and some think that it should be, a mere series of dry uncoloured statements. Such an event occurred, such a word was uttered, such a deed was done, at this date or the other. We give references to our authorities, to men who heard of the events, or even saw them when they happened. But we, the writer and the readers, see nothing: we only offer or accept bald and imperfect information. If we try to write history on another method, we become ‘picturesque:’ we are composing a novel, not striving painfully to attain the truth. Yet, when we know not the details; – the aspect of dwellings now ruinous; the hue and cut of garments long wasted into dust; the passing frown, or smile, or tone of the actors and the speakers in these dramas of life long ago; the clutch of Bothwell at his dagger’s hilt, when men spoke to him in the street; the flush of Darnley’s fair face as Mary and he quarrelled at Stirling before his murder – then we know not the real history, the real truth. Now and then such a detail of gesture or of change of countenance is recorded by an eyewitness, and brings us, for a moment, into more vivid contact with the past. But we could only know it, and judge the actors and their conduct, if we could see the personages in their costume as they lived, passing by in some magic mirror from scene to scene. The stage, as in Schiller’s ‘Marie Stuart,’ comes nearest to reality, if only the facts given by the poet were real; and next in vividness comes the novel, such as Scott’s ‘Abbot,’ with its picture of Mary at Loch Leven, when she falls into an hysterical fit at the mention of Bastian’s marriage on the night of Darnley’s death. Far less intimate than these imaginary pictures of genius are the statements of History, dull when they are not ‘picturesque,’ and when they are ‘picturesque,’ sometimes prejudiced, inaccurate, and misleading.

      We are to betake ourselves to the uninviting series of contradictory statements and of contested dates, and of disputable assertions, which are the dry bones of a tragedy like that of the ‘Agamemnon’ of Æschylus. Let us try first to make mental pictures of the historic people who play their parts on what is now a dimly lighted stage, but once was shone upon by the sun in heaven; by the stars of darkling nights on ways dimly discerned; by the candles of Holyrood, or of that crowded sick-room in Kirk o’ Field, where Bothwell and the Lords played dice round the fated Darnley’s couch; or by the flare of torches under which Mary rode down the Blackfriars Wynd and on to Holyrood.

      The foremost person is the Queen, a tall girl of twenty-four, with brown hair, and sidelong eyes of red brown. Such are her sidelong eyes in the Morton portrait; such she bequeathed to her great-great-grandson, James, ‘the King over the Water.’ She was half French in temper, one of the proud bold Guises, by her mother’s side; and if not beautiful, she was so beguiling that Elizabeth recognised her magic even in the reports of her enemies.[5]

      ‘This lady and Princess is a notable woman,’ said Knollys; ‘she showeth a disposition to speak much, to be bold, to be pleasant, and to be very familiar. She showeth a great desire to be avenged of her enemies, she showeth a readiness to expose herself to all perils in hope of victory, she delighteth much to hear of hardiness and valiance, commending by name all approved hardy men of her country, although they be her enemies, and concealeth no cowardice even in her friends.’

      There was something ‘divine,’ Elizabeth said, in the face and manner which won the hearts of her gaolers in Loch Leven and in England. ‘Heaven bless that sweet face!’ cried the people in the streets as the Queen rode by, or swept along with the long train, the ‘targetted tails’ and ‘stinking pride of women,’ that Knox denounced.

      She was gay, as when Randolph met her, in no more state than a burgess’s wife might use, in the little house of St. Andrews, hard by the desecrated Cathedral. She could be madly mirthful, dancing, or walking the black midnight streets of Edinburgh, masked, in male apparel, or flitting ‘in homely attire,’ said her enemies, about the Market Cross in Stirling. She loved, at sea, ‘to handle the boisterous cables,’ as Buchanan tells. Pursuing her brother, Moray, on a day of storm, or hard on the doomed Huntly’s track among the hills and morasses of the North; or galloping through the red bracken of the October moors, and the hills of the robbers, to Hermitage; her energy outwore the picked warriors in her company. At other times, in a fascinating languor, she would lie long abed, receiving company in the French fashion, waited on by her Maries, whose four names ‘are four sweet symphonies,’ Mary Seton and Mary Beaton, Mary Fleming and Mary Livingstone. To the Council Board she would bring her woman’s work, embroidery of silk and gold. She was fabled to have carried pistols at her saddle-bow in war, and she excelled in matches of archery and pall-mall.

      Her costumes, when she would be queenly, have left their mark on the memory of men: the ruff from which rose the snowy neck; the brocaded bodice, with puffed and jewelled sleeves and stomacher; the diamonds, gifts of Henri II. or of Diane; the rich pearls that became the spoil of Elizabeth; the brooches enamelled with sacred scenes, or scenes from fable. Many of her jewels – the ruby tortoise given by Riccio; the enamel of the mouse and the ensnared lioness, passed by Lethington as a token into her dungeon of Loch Leven; the diamonds bequeathed by her to one whom she might not name; the red enamelled wedding-ring, the gift of Darnley; the diamond worn in her bosom, the betrothal present of Norfolk – are, to our fancy,

---

Скачать книгу