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Kitabı oku: «In Byways of Scottish History», sayfa 5
THE SONG OF MARY STUART
An Undetected Forgery
Those 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 DUEIL
Je voy, sous blanc atour,
En grand dueil et tristesse,
Se pourmener maint tour
De beauté la Déesse;
Tenant le traict en main
De son filz inhumain.
II
Et Amour, sans fronteau.
Vollette à l'entour d'elle,
Desguisant son bandeau
En un funébre voelle
Où sont ces mots escrits:
"Mourir ou estre pris".
III
Deux arcs victorieux
Je voy sous blanche toyle,
Et sous chacun d'iceux
Une plus claire estoille
Qu'au plus net et pur aër
Du ciel l'astre plus clair.
IV
Et du haut d'un rocher,
Je voy singlant maint voile
D'un fanal s'approcher,
Dont la clarté est telle
Que sans elle tous lieux
Me semblent ténébreux.
V
Je voy, d'ordre marchant,
Une troupe dolente
Peu à peu s'approchant
D'une Dame excellente,
Qui de piteuse voix
Fait retentir un bois.
VI
J'oy son triste et doux chant,
Qui, d'un ton lamentable,
Jette un regret trenchant
De perte incomparable,
Et, en souspirs cuisants
Passe ses meilleurs ans.
VII
"Fut-il de tel malheur
De dure destinée,
Ne si juste douleur
De Dame fortunée,
Qui mon cœur et mon œil
Voy en biére et cercueil!
VIII
"Qui, en mon doux printemps
Et fleur de ma jeunesse,
Toutes les peines sens
D'une extrême tristesse,
Et en rien n'ay plaisir
Qu'en regret et désir.
IX
"Ce qui m'estoit plaisant
Ores m'est peine dure,
Le jour le plus luisant
M'est nuit noire et obscure,
Et n'est rien si exquis.
Qui de moi soit requis.
X
"J'ay au cœur et en l'œil
Un portraict et image
Qui figure mon dueil
En mon pasle visage
De violettes teint,
Qui est l'amoureux teint.
XI
"Pour mon mal estranger
Je ne m'arreste en place,
Mais j'ai beau lieu changer
Si ma douleur j'efface,
Car mon pis et mon mieux
Sont les plus déserts lieux.
XII
"Si en quelque séjour
Suis, en bois ou en prée
Soit sur l'aube du jour
Ou soit sur la vesprée,
Sans cesse mon cœur sent
Le regret d'un absent.
XIII
"Si parfois vers les cieux
Viens à dresser ma veüe,
Le doux traict de ses yeux
Je voy en une nue;
Soudain le voy en l'eau
Comme 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 requoy
Toujours est prés de moi.
XV
"Je ne voy autre object
Pour beau qu'il se présente;
A qui que soit subject
Oncques mon cœur consente,
Exempt de perfection
A ceste affection.
XVI
"Mets, chanson, icy frain
A si triste complainte,
Dont sera le refrain:
'Amour vraye et non faincte
Pour séparation
N'a diminution'."
XVII
Tel estoit le doux chant
De Dame souveraine,
Qui, mon cœur arrachant
D'une fuite soudaine,
Me donna en ce lieu
Coup 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 Satire
About 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.
Randolph's reply was not delayed. He was at Berwick when Melvill passed through it on his way to London, and learnt directly from his own lips all the particulars of the alleged libel, of the Queen's anger, and of her determination to bring down exemplary chastisement upon the offender's head. At once availing himself of the advantage which this early information afforded him, he drew up an emphatic and indignant denial of the whole indictment and a firm vindication of his conduct at the Scottish Court. He wrote with a manly frankness and dignity which are not always characteristic of his correspondence, adding considerable weight to his solemn protestations of innocence by the candid avowal of the suspicion with which he viewed the Queen's policy, and to which he had more than once given expression in his official communications to the home Government. "I coulde hardelye have beleved,"128 he said, "that anye suche reporte coulde have come owte of this towne to that Q: or that her g. wolde upon so slender information so suddaynlie agayne gyve credit to anye such report, in specaill that she wolde so hastelye wthowte farther assurance thus grevouslye accuse me to my Soveraign. The reme¯brance hereof hathe some what greved me, but beinge so well hable to purge my selfe of anye suche crime, and knowinge before whom I shal be accused and hearde, with suche indifferencie as I neade not to dowte of any partialitie, and pardoned to stond stiflye in defence of my honestie, I condene my selfe that I sholde tayke anye such care as almoste to pass what is sayde of me by suche, as throughe blamynge of me wolde culler suche Iniuries as I have knowne and daylye see done to my mestres, to my Soveraign and Countrie, to wch I am borne, wch I will serve wth boddie and lyf trewlye, and carles what becom¯ethe of me, more desierus to leave behynde me the name of a trewe servante then to possesse greate wealthe. I, therfore, in the presence of God and by my allegens to my Soveraign, affirme trewlye and advisedlye, that I never wrote booke agaynste her, or gave my consent or advise to anye that ever was wrytten, nor at this hower do knowe of anye that ever was set forthe to her defamation or dyshonour, or yet ever lyked of anye suche that ever dyd the lyke. And that this is trewe, yt shalbe mayntayned and defended as becom¯ethe one that oughte to have greater regarde of his honestie and trothe then he doth regarde what becom¯ethe of his lyf. I knowe that vnto your h: I have wrytten divers times maynie thynges straynge to be hearde of in a princesse that boore so greate a brute and fame of honour and vertu, as longe tyme she dyd. I confesse a mislykinge of her doings towards my mestres. I feared ever that wch still I stonde in dowte of, les over myche credit sholde be given whear lyttle is mente that is spoken. I wolde not that anye waye my mestres sholde be abused, wch made me wryte in greater vehemencie and more ernestlye then in matters of les consequence; but yf yt be ever provyd that I ever falcelye imagined anye thinge agaynste her, or untrewlye reported yt wch I have hearde willinglye, or dyd reveele that wch I do knowe to anye man, savinge to suche as I am bounde ether for deuties sake, or by com – andemente, I am contente to tayke this crime upon me, and to be defamed for a villayne, never to be better thought of then as mover of sedition and breeder of dyscorde betwene princes, as her g: hathe termed me. Of that wch I have wrytten to yor h: I am sure ther is nothynge come to her eares; wch was so farre from my mynde to put in a booke, that I have byne maynie tymes sorrie to wryte yt vnto yor h: from whome I knowe that I ought to keape nothynge whearby the Q. Matie myght vnderstonde this Q: state, or be assured what is her mynde towards her. Yf in this accusation I be founde giltles bothe in deade and thoughte (thoughe more be to be desyered of a gentleman that livethe onlye by the princes credit, and seekethe no other estimation then is wone by faythefull and trewe service) yet I will fynde my selfe satisfied, myche honered by the Q. Matie and bounde vnto yr h: that such triall maye be had of this matter that yt maye be knowne wch way and by whome in this towne anye suche reporte sholde come to her g: eares; wch I require more for the daynger that maye growe vnto this place to have suche persones in it, then I desyer my selfe anye revenge, or, in so falce matters do mayke greate accompte what anye man saythe or howe theis reporte of me, for that I am assured that more shame and dyshonor shalbe theirs in their falce accusations, then ther cane be blamed towards me in my well doynge."
In the face of this unqualified disclaimer, it would have required not merely suspicion founded on the unsupported assertion of a nameless informer, but the most direct and irrefutable evidence, to substantiate the charge brought against Randolph. His letter bore its own confirmation on the face of it. It was not meant for the public, who might perhaps have been put off by high-sounding phrases and protestations; neither was it intended for the Scottish Queen, who, though better informed, had no special facilities for testing the statements which it contained. It was addressed to Cecil, to the Minister with whom Randolph had been in constant correspondence for years, to whom he had communicated the trifling events of each day – incidents of Court life and scraps of Court gossip – who knew the extent of his experience of Scottish affairs, and was as familiar with his views as with his peculiarities of style and diction in expressing them; to the last man, in short, whom it would have been possible to hoodwink as to the authorship of a work bearing traces of either the hand or the inspiration of his subordinate.
But, if Randolph had been the author of the poem bearing his name, besides being deterred from any attempt at deception by the almost certainty of failure, he would doubtless have remembered that Cecil was one of the bitterest enemies of the Queen of Scots, and that, at the pitch which party animosity had reached, even though, for the sake of appearances, some indignation might be simulated, no serious offence was likely to be taken at a work tending to vilify the rival with whom, in spite of the hollow show of friendship still maintained, an open rupture was imminent, whose difficulties, far from calling forth sympathy, were the subject of thinly-veiled exultation, whose indiscretions were distorted into faults, and whose errors were magnified into crimes. Had he been concerned in the production of the Fantasie, he possessed sufficient shrewdness to know that his wisest and safest course did not lie in a denial of which the falsehood could not escape exposure, but in a confession which, whilst attended with no real danger, might actually tend to his credit.
Cecil accepted Randolph's disclaimer without demur, and in a manner which left no doubt that he was thoroughly convinced of its absolute truth. It was deemed of sufficient importance to be answered with no further delay than was rendered necessary by the slow means of communication of the time. To his letter of the 26th of May Randolph received a reply as early as the 6th of the following month. It has, unfortunately, not been preserved; but, though it is impossible to reproduce the language in which it was couched, it is easy to judge of its purport and of the tone which pervaded it. These may be gathered from the grateful acknowledgment which it called forth from Randolph. "Yt may please yor H:," he wrote in a letter dated from Berwick on the 7th of June, "that yesterdaye I receaved yor letter of the thyrde of this instant for wch I do most humblye thanke you and have therby receaved maynie thyngs to my co¯tentation. In speciall for the wrytinge of that fantasie or dreame called by my name, that I am thought fawltles, as in deade I am, but still greeved that I am so charged, but that waye seeke no farther to please then with my deutie maye stonde. Yf Mr Melvill remayne so well satysfied that he thinke me cleare, I truste that he will performe no les then he promised, that the reporter bycawse he is in this towne shalbe knowne, at the leaste yf not to me, I wolde yr h: were warned of such."129
A few days after the receipt by Randolph of Cecil's letter, Elizabeth dispatched from Greenwich an answer to the complaints of which Melvill had been the bearer. It was a singular document in which words were skilfully used to veil the writer's meaning, and irony was disguised beneath the fairest show of sympathy. While seeming to promise complete satisfaction, it contained no expression but might be explained away, and it carefully refrained from putting forth any opinion with regard to Randolph's guilt or innocence. It began by assuring the Queen of Scots that she was not the only one who had been moved to anger on hearing of Randolphe's Fantasie, and by asserting, with feigned indignation, that even to dream treason was held to be a crime worthy of banishment from England, where subjects were required to be loyal not in their words merely, but in their very thoughts also; it bade her rest satisfied that, for the investigation of the subject complained of, such means should be used as would let the whole world know in what esteem her reputation was held; and it concluded by hinting at no less a punishment than death when the truth was found out: "Mais quant je lisois la fascherye en quoy vous estiez pour avoir ouy du songe de Randolphe" – so ran the letter – "je vous prometz que nestiez seule en cholere. Sy est ce que l'opinion que les songes de la nuit sont les denonciations des pensées iournelles fussent verefyez en luy, s'il n'en eust que songé et non point escript, je ne le penserois digne de Logis en mon Royaulme. Car non seulement veul je que mes subiectz ne disent mal des princes, mais que moins est, de n'en penser sinon honorablement. Et sois asseurée que pense tellement traicter ceste cause, que tout le monde verra en quel estyme je tiens vr~e renom¯ée, et useray de telz moyens pour en cognoistre la vérité, qu'il ne tiendra a moy sy je ne la scache. Et la trouvant, je la laisseray a vr~e jugement si la pugnition ne soyt digne pour telle faulte, combien que je croy que la vye d'aulcun n'en pourra bonnement equivaller la cryme."130
