Chapter 14

With a steady step he mounted the scaffold, and, as he crossed it, gave utterance to the vain wish that, instead of meeting such a fate, he had been allowed to die in the service of his King and country. He quickly, however, turned to other thoughts, and, kneeling on one of the cushions, with the bishop beside him on the other, he was soon engaged earnestly in prayer. With his eyes raised toward heaven with a look of unutterable sadness, he prayed so fervently and loud as to be distinctly heard by the spectators. The prelate, much affected, put into his hands the silver crucifix, which Egmont repeatedly kissed; after which, having received absolution for the last time, he rose and made a sign to the bishop to retire. He then stript off his mantle and robe; and, again kneeling, he drew a silk cap, which he had brought for the purpose, over his eyes, and, repeating the words, "Into Thy hands, O Lord, I commend my spirit," he calmly awaited the stroke of the executioner.

The low sounds of lamentation which from time to time had been heard among the populace were now hushed into silence as the minister of justice, appearing on the platform, approached his victim and with a single blow of the sword severed the head from the body. A cry of horror rose from the multitude, and some, frantic with grief, broke through the ranks of the soldiers and wildly dipped their handkerchiefs in the blood that streamed from the scaffold, treasuring them up, says the chronicler, as precious memorials of love and incitements to vengeance. The head was then set on one of the poles at the end of the platform, while a mantle thrown over the mutilated trunk hid it from the public gaze.

It was near noon when orders were sent to lead forth the remaining prisoner to execution. It had been assigned to the curate of La Chapelle to acquaint Count Hoorne with his fate. That nobleman received the awful tidings with less patience than was shown by his friend. He gave way to a burst of indignation at the cruelty and injustice of the sentence. It was a poor requital, he said, for eight-and-twenty years of faithful service to his sovereign. Yet, he added, he was not sorry to be released from a life of such incessant fatigue. For some time he refused to confess, saying he had done enough in the way of confession. When urged not to throw away the few precious moments that were left to him, he at length consented.

The count was drest in a plain suit of black, and wore a Milanese cap upon his head. He was, at this time, about fifty years of age. He was tall, with handsome features, and altogether of a commanding presence. His form was erect, and as he passed with a steady step through the files of soldiers, on his way to the place of execution, he frankly saluted those of his acquaintance whom he saw among the spectators. His look had in it less of sorrow than of indignation, like that of one conscious of enduring wrong. He was spared one pang, in his last hour, which had filled Egmont's cup with bitterness; tho, like him, he had a wife, he was to leave no orphan family to mourn him.

As he trod the scaffold, the apparatus of death seemed to have no power to move him. He still repeated the declaration that, "often as he had offended his Maker, he had never, to his knowledge, committed any offense against the King." When his eyes fell on the bloody shroud that enveloped the remains of Egmont, he inquired if it were the body of his friend. Being answered in the affirmative, he made some remark in Castilian, not understood. He then prayed for a few moments, but in so low a tone that the words were not caught by the bystanders, and, rising, he asked pardon of those around if he had ever offended any of them, and earnestly besought their prayers. Then, without further delay, he knelt down, and, repeating the words, "_In manus tuas, Domine_," he submitted himself to his fate.

His bloody head was set up opposite to that of his fellow sufferer. For three hours these ghastly trophies remained exposed to the gaze of the multitude. They were then taken down, and, with the bodies, placed in leaden coffins, which were straightway removed--that containing the remains of Egmont to the convent of Santa Clara, and that of Hoorne to the ancient church of Ste. Gudule. To these places, especially to Santa Clara, the people now flocked as to the shrine of a martyr. They threw themselves on the coffin, kissing it and bedewing it with their tears, as if it had contained the relics of some murdered saint; while many of them, taking little heed of the presence of informers, breathed vows of vengeance, some even swearing not to trim either hair or beard till these vows were executed. The government seems to have thought it prudent to take no notice of this burst of popular feeling. But a funeral hatchment, blazoned with the arms of Egmont, which, as usual after the master's death, had been fixt by his domestics on the gates of his mansion, was ordered to be instantly removed--no doubt, as tending to keep alive the popular excitement. The bodies were not allowed to remain long in their temporary places of deposit, but were transported to the family residences of the two lords in the country, and laid in the vaults of their ancestors.

Thus by the hand of the common executioner perished these two unfortunate noblemen, who, by their rank, possessions, and personal characters, were the most illustrious victims that could have been selected in the Netherlands. Both had early enjoyed the favor of Charles the Fifth, and both had been entrusted by Philip with some of the highest offices in the state. Philip de Montmorency, Count Hoorne, the elder of the two, came of the ancient house of Montmorency in France. Besides filling the high post of Admiral of the Low Countries, he was made governor of the provinces of Guelders and Zutphen, was a councilor of state, and was created by the Emperor a knight of the Golden Fleece. His fortune was greatly inferior to that of Count Egmont; yet its confiscation afforded a supply by no means unwelcome to the needy exchequer of the Duke of Alva.

However nearly on a footing they might be in many respects, Hoorne was altogether eclipsed by his friend in military renown.

II

THE GENESIS OF "DON QUIXOTE"[69]

The age of chivalry, as depicted in romances, could never, of course, have had any real existence; but the sentiments which are described as animating that age have been found more or less operative in different countries and different periods of society. In Spain, especially, this influence is to be discerned from a very early date. Its inhabitants may be said to have lived in a romantic atmosphere, in which all the extravagances of chivalry were nourished by their peculiar situation. Their hostile relations with the Moslem kept alive the full glow of religious and patriotic feeling. Their history is one interminable crusade. An enemy always on the borders invited perpetual displays of personal daring and adventure. The refinement and magnificence of the Spanish Arabs throw a luster over these contests such as could not be reflected from the rude skirmishes with their Christian neighbors. Lofty sentiments, embellished by the softer refinements of courtesy, were blended in the martial bosom of the Spaniard, and Spain became emphatically the land of romantic chivalry.

[Footnote 69: From the "Biographical and Critical Miscellanies," which were collected by the author for publication in England in 1845. This essay, and the others in the volume, with one exception, had been published originally in _The North American Review_.]

The very laws themselves, conceived in this spirit, contributed greatly to foster it. The ancient code of Alfonso X, in the thirteenth century, after many minute regulations for the deportment of the good knight, enjoins on him to "invoke the name of his mistress in the fight, that it may infuse new ardor into his soul and preserve him from the commission of unknightly actions." Such laws were not a dead letter. The history of Spain shows that the sentiment of romantic gallantry penetrated the nation more deeply and continued longer than in any other quarter of Christendom....

The taste for these romantic extravagances naturally fostered a corresponding taste for the perusal of tales of chivalry. Indeed, they acted reciprocally on each other. These chimerical legends had once, also, beguiled the long evenings of our Norman ancestors, but, in the progress of civilization, had gradually given way to other and more natural forms of composition. They still maintained their ground in Italy, whither they had passed later, and where they were consecrated by the hand of genius. But Italy was not the true soil of chivalry, and the inimitable fictions of Bojardo, Pulci, and Ariosto were composed with that lurking smile of half-supprest mirth which, far from a serious tone, could raise only a corresponding smile of incredulity in the reader.

In Spain, however, the marvels of romance were all taken in perfect good faith. Not that they were received as literally true; but the reader surrendered himself up to the illusion, and was moved to admiration by the recital of deeds which, viewed in any other light than as a wild frolic of imagination, would be supremely ridiculous; for these tales had not the merit of a seductive style and melodious versification to relieve them. They were, for the most part, an ill-digested mass of incongruities, in which there was as little keeping and probability in the characters as in the incidents, while the whole was told in that stilted "Hercles' vein" and with that licentiousness of allusion and imagery which could not fail to debauch both the taste and the morals of the youthful reader. The mind, familiarized with these monstrous, over-colored pictures, lost all relish for the chaste and sober productions of art. The love of the gigantic and the marvelous indisposed the reader for the simple delineations of truth in real history....

Cervantes brought forward a personage, in whom were embodied all those generous virtues which belong to chivalry; disinterestedness, contempt of danger, unblemished honor, knightly courtesy, and those aspirations after ideal excellence which, if empty dreams, are the dreams of a magnanimous spirit. They are, indeed, represented by Cervantes as too ethereal for this world, and are successively dispelled as they come in contact with the coarse realities of life. It is this view of the subject which has led Sismondi, among other critics, to consider that the principal end of the author was "the ridicule of enthusiasm--the contrast of the heroic with the vulgar"--and he sees something profoundly sad in the conclusions to which it leads. This sort of criticism appears to be over-refined. It resembles the efforts of some commentators to allegorize the great epics of Homer and Virgil, throwing a disagreeable mistiness over the story by converting mere shadows into substances, and substances into shadows.

The great purpose of Cervantes was, doubtless, that expressly avowed by himself, namely, to correct the popular taste for romances of chivalry. It is unnecessary to look for any other in so plain a tale, altho, it is true, the conduct of the story produces impressions on the reader, to a certain extent, like those suggested by Sismondi. The melancholy tendency, however, is in a great degree counteracted by the exquisitely ludicrous character of the incidents. Perhaps, after all, if we are to hunt for a moral as the key of the fiction, we may with more reason pronounce it to be the necessity of proportioning our undertakings to our capacities.

The mind of the hero, Don Quixote, is an ideal world into which Cervantes has poured all the rich stores of his own imagination, the poet's golden dreams, high romantic exploit, and the sweet visions of pastoral happiness; the gorgeous chimeras of the fancied age of chivalry, which had so long entranced the world; splendid illusions, which, floating before us like the airy bubbles which the child throws off from his pipe, reflect, in a thousand variegated tints, the rude objects around, until, brought into collision with these, they are dashed in pieces and melt into air. These splendid images derive tenfold beauty from the rich antique coloring of the author's language, skilfully imitated from the old romances, but which necessarily escapes in the translation into a foreign tongue. Don Quixote's insanity operates both in mistaking the ideal for the real, and the real for the ideal. Whatever he has found in romances he believes to exist in the world; and he converts all he meets with in the world into the visions of his romances. It is difficult to say which of the two produces the most ludicrous results.

For the better exposure of these mad fancies Cervantes has not only put them into action in real life, but contrasted them with another character which may be said to form the reverse side of his hero's. Honest Sancho represents the material principle as perfectly as his master does the intellectual or ideal. He is of the earth, earthy. Sly, selfish, sensual, his dreams are not of glory, but of good feeding. His only concern is for his carcass. His notions of honor appear to be much the same with those of his jovial contemporary Falstaff, as conveyed in his memorable soliloquy. In the sublime night-piece which ends with the fulling-mills--truly sublime until we reach the dénouement--Sancho asks his master: "Why need you go about this adventure? It is main dark, and there is never a living soul sees us; we have nothing to do but to sheer off and get out of harm's way. Who is there to take notice of our flinching?" Can anything be imagined more exquisitely opposed to the true spirit of chivalry? The whole compass of fiction nowhere displays the power of contrast so forcibly as in these two characters; perfectly opposed to each other, not only in their minds and general habits, but in the minutest details of personal appearance.

It was a great effort of art for Cervantes to maintain the dignity of his hero's character in the midst of the whimsical and ridiculous distresses in which he has perpetually involved him. His infirmity leads us to distinguish between his character and his conduct, and to absolve him from all responsibility for the latter. The author's art is no less shown in regard to the other principal figure in the piece, Sancho Panza, who, with the most contemptible qualities, contrives to keep a strong hold on our interest by the kindness of his nature and his shrewd understanding. He is far too shrewd a person, indeed, to make it natural for him to have followed so crack-brained a master unless bribed by the promise of a substantial recompense. He is a personification, as it were, of the popular wisdom--a "bundle of proverbs," as his master somewhere styles him; and proverbs are the most compact form in which the wisdom of a people is digested. They have been collected into several distinct works in Spain, where they exceed in number those of any other, if not every other country in Europe. As many of them are of great antiquity, they are of inestimable price with the Castilian jurists, as affording rich samples of obsolete idioms and the various mutations of the language.

"Don Quixote" may be said to form an epoch in the history of letters, as the original of that kind of composition, the novel of character, which is one of the distinguishing peculiarities of modern literature. When well executed, this sort of writing rises to the dignity of history itself, and may be said to perform no insignificant part of the functions of the latter. History describes men less as they are than as they appear, as they are playing a part on the great political theater--men in masquerade. It rests on state documents, which too often cloak real purposes under an artful veil of policy, or on the accounts of contemporaries blinded by passion or interest. Even without these deductions, the revolutions of states, their wars, and their intrigues do not present the only aspect, nor, perhaps, the most interesting, under which human nature can be studied. It is man in his domestic relations, around his own fireside, where alone his real character can be truly disclosed; in his ordinary occupations in society, whether for purposes of profit or pleasure; in his every-day manner of living, his tastes and opinions, as drawn out in social intercourse; it is, in short, under all those forms which make up the interior of society that man is to be studied, if we would get the true form and pressure of the age--if, in short, we would obtain clear and correct ideas of the actual progress of civilization.

But these topics do not fall within the scope of the historian. He can not find authentic materials for them. They belong to the novelist, who, indeed, contrives his incidents and creates his characters, but who, if true to his art, animates them with the same tastes, sentiments, and motives of action which belong to the period of his fiction. His portrait is not the less true because no individual has sat for it. He has seized the physiognomy of the times. Who is there that does not derive a more distinct idea of the state of society and manners in Scotland from the "Waverley Novels" than from the best of its historians? Of the condition of the Middle Ages from the single romance of "Ivanhoe" than from the volumes of Hume or Hallam? In like manner, the pencil of Cervantes has given a far more distinct and a richer portraiture of life in Spain in the sixteenth century than can be gathered from a library of monkish chronicles.

GEORGE BANCROFT

Born in Massachusetts in 1800; died in Washington in 1891; graduated from Harvard in 1817; studied in Germany; taught Greek in Harvard; established a private school at Northampton in 1823; collector of the Port of Boston in 1838; unsuccessful candidate for Governor of Massachusetts in 1844; Secretary of the Navy in 1845; established the Naval Academy at Annapolis; minister to England in 1846; minister to Berlin in 1867; published his "History of the United States" in 10 volumes in 1834-74.

THE FATE OF EVANGELINE'S COUNTRYMEN[70]

(1755)

They [the French inhabitants of Acadia] still counted in their villages "eight thousand" souls, and the English not more than "three thousand"; they stood in the way of "the progress of the settlement"; "by their non-compliance with the conditions of the treaty of Utrecht they had forfeited their possessions to the crown"; after the departure "of the fleet and troops, the province would not be in a condition to drive them out." "Such a juncture as the present might never occur"; so he [the chief justice, Belcher] advised "against receiving any of the French inhabitants to take the oath," and for the removal of "all" of them from the province.

[Footnote 70: From Volume IV, Chapter VIII, of "The History of the United States," as published in 1862. Acadia was the name of the original French colony in the eastern part of Canada, including Nova Scotia, New Brunswick and adjacent islands. It was first colonized by the French in 1604. It is more particularly of the French settlers in Nova Scotia that Bancroft writes. These were deported by the British in 1755. Longfellow's poem "Evangeline" is founded on an incident in this deportation, by which two lovers were hopelessly parted. Hawthorne is said first to have heard this story and considered it as the theme for a novel, but, unable to use it satisfactorily to himself, he passed it on to Longfellow.]

That the cruelty might have no palliation, letters arrived leaving no doubt that the shores of the Bay of Fundy were entirely in the possession of the British; and yet at a council, at which Vice-Admiral Boscawen and Rear-Admiral Mostyn were present by invitation, it was unanimously determined to send the French inhabitants out of the province; and, after mature consideration, it was further unanimously agreed that, to prevent their attempting to return and molest the settlers that were to be set down on their lands, it would be most proper to distribute them among the several colonies on the continent.

To hunt them into the net was impracticable; artifice was therefore resorted to. By a general proclamation, on one and the same day, the scarcely conscious victims, "both old men and young men, as well as all the lads of ten years of age," were peremptorily ordered to assemble at their respective posts. On the appointed fifth of September they obeyed. At Grand Pré, for example, four hundred and eighteen unarmed men came together. They were marched into the church and its avenues were closed, when Winslow, the American commander, placed himself in their center, and spoke:

"You are convened together to manifest to you his majesty's final resolution to the French inhabitants of this his province. Your lands and tenements, cattle of all kinds, and live stock of all sorts, are forfeited to the crown, and you yourselves are to be removed from this his province. I am, through his majesty's goodness, directed to allow you liberty to carry off your money and household goods, as many as you can, without discommoding the vessels you go in."

And he then declared them the King's prisoners. Their wives and families shared their lot; their sons, five hundred and twenty-seven in number; their daughters, five hundred and seventy-six; in the whole, women and babes and old men and children all included, nineteen hundred and twenty-three souls. The blow was sudden; they had left home but for the morning, and they never were to return. Their cattle were to stay unfed in the stalls, their fires to die out on their hearths. They had for that first day even no food for themselves or their children, and were compelled to beg for bread.

The tenth of September was the day for the embarkation of a part of the exiles. They were drawn up six deep; and the young men, one hundred and sixty-one in number, were ordered to march first on board the vessel. They could leave their farms and cottages, the shady rocks on which they had reclined, their herds, and their garners; but nature yearned within them, and they would not be separated from their parents. Yet of what avail was the frenzied despair of the unarmed youth? They had not one weapon; the bayonet drove them to obey; and they marched slowly and heavily from the chapel to the shore, between women and children, who, kneeling, prayed for blessings on their heads, they themselves weeping and praying and singing hymns. The seniors went next; the wives and children must wait till other transport vessels arrive. The delay had its horrors. The wretched people left behind were kept together near the sea, without proper food, or raiment, or shelter, till other ships came to take them away; and December, with its appalling cold, had struck the shivering, half-clad, broken-hearted sufferers, before the last of them were removed.