The Angel Asrael

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by S. Henry Berthoud


  7 This was one of several of Berthoud’s early stories pirated in English translation, by the Irish novelist Thomas Colley Grattan, who entitled his plagiarism “The Orphan of Cambray” (1832).

  8 Valentina Visconti, Duchesse d’Orléans (1371-1408) adopted the motto in question in 1407 following the murder of her husband. A rough translation would be “I no longer care about anything; nothing any longer means anything to me.”

  9 I have left the term mulquinier untranslated because it does not have a precise equivalent in English; it pertains to the manufacture, preparation and marketing of fine thread for weaving, but it would be oversimplified to describe the mulquiniers simply as “spinners” or “weavers.” The initial industrialization of that craft was very closely associated with Cambrésis, which was its first great center in Medieval Europe. Although I have translated the French serment as “guild,” it is also worth bearing in mind that French industrial corporations of that kind were more highly-organized and elaborately structured than their English equivalents, and their “kings” were individuals of great importance—hence their possession of their own “court jesters.”

  10 Berthoud did not invent this narrative device, which was to become the hoariest of the clichés of popular, mocked by Paul Féval as “her mother’s cross,” but this is one of its earlier uses in prose fiction.

  11 This reference is false, Froissart’s Chronicle makes no reference the incident involving the Earl of Kent and the English Queen featured in the story, which does not appear to have any historical basis.

  12 Joseph Le Glay (1785-1863) was a physician and antiquarian who became archivist of Cambrai in 1822 and the city’s librarian four years later; Berthoud knew him well and was also a friend of his son Edward Le Glay (1814-1894), the author of a Histoire des Comtes de Flandres (1843).

  13 Presumably the Swiss jurist Karl Ludwig von Haller (1768-1854).

  14 The poet Casimir Delavigne (1793-1843) became enormously successful following the publication of the impassioned patriotic poems he published after the Battle of Waterloo; he subsequently became the royal librarian. “L’me du Purgatoire” was published in the Revue de Paris in 1829.

  15 Charles de Valois (1270-1325), the third son of Philippe III and younger brother of Philippe de Bel, quarreled with the latter’s chamberlain, Enguerrand de Marigny (1260-1315) in 1311 and pursued a relentless vendetta against him thereafter, eventually framing him with various false charges and having him executed for sorcery, following an evil example set by his brother’s destruction of the Templars.

  16 The author presumably has the Welsh epigrammatist John Owen (1564-c1625) in mind, but the quotation is fictitious.

  17 Author’s note: “Louis XI had expelled René from Anjou at the moment when the overconfident old man had least expected that perfidy. ‘Where is the hand,’ said a chronicler of the epoch, ‘that could satisfactorily describe the plaints, regrets and lamentations of the poor folk at the departure of the easy-going King of Sicily, so curious and such a vigilant tutor of the land, amorous of pace and concord, sustainer of the poor, director and support of honorable Ladies and Damoiselles, and all benign and merciful brothers?’”

  18 Author’s note: “These bold words of Marini’s ought not to astonish; that preacher dared, one day, from the pulpit, to reproach René for his liking for ballads. The good King was not annoyed. See L’Hist. de René d’Anjou by M. le Vicomte L. F. De Villeneuve Bargemont.”

  19 Author’s note: “Jean Binée refused an honorable and important position that the king had offered him. The letter has been conserved in which he enters into details full of candor and naivety to prove to René that he would fulfill the functions of the post poorly and does not have the qualities necessary to acquit it worthily. ‘So I simply cannot serve you,’ he says, ‘at least as the estate and office require.’ Jehan Cossa was René’s ambassador to Louis XI when that Prince took possession of Anjou. The faithful servant trued to protest against that infraction of all human rights. ‘If the ambassador of the King of Sicily does not withdraw in all haste,’ said Louis XI coldly, turning to his satellites, let someone sow him up in a sack and throw him in the river.’”

  20 Author’s note: “Cardinal de Bar, René’s uncle, gave him an entirely martial education, for in that era, prelates often took up arms. ‘And on the battlefield,” says Monstrelet, ‘they were obliged to wear a basinet for a miter, a piece of steel for a chasuble and a battle-ax for a cross.’ The Bishop of Amiens was Conrad Brayer de Boppau, who always remained linked to René by narrow amity.”

  21 Author’s note: “Antoine d’Anjou, the elder son of the good King, perished at Barcelonne in the midst of the most splendid triumphs, mourned by the Aragonnais, who adored him. Nicolas d’Anjou, his sister Yolande and Ferry Vendemour did not long survive their brother. Marguerite married Henri VI of England and reestablished that weak King devoid of courage to the throne twice. Her husband and son perished before her eyes; she retired to France, ‘where she died,’ says Voltaire, ‘the unhappiest of queens, wives and mothers.’”

  22 Author’s note: “Bertrand d’Alamanon, born in Aix. This is the translation of one of his songs, full of grace and naivety: ‘You want to know why I am making a demi-song; it’s because I only have a demi-subject to sing; there is only love on my part; the lady I love does not love me; but for lack of the ayes that she refuses me I take the nays that she lavishes upon me. Hope next to her is better than enjoyment next to another, and, unable to resist the Empire of Amour, I know no means to soothe my troubles but thinking that one day she might perhaps love me.’ (see Le Dict. des Poètes franc., by M. Philippon de la Madelaine, and L’Hist. des Troub. by Abbé Millot.”

  23 Author’s note: “The celebrated Barbezan made every effort to defer a battle that would decide René’s fate. ‘He who is afraid retreats!’ said young de Commercy. ‘Let’s march to combat!’ cried the old warrior. ‘I’ll attack enemies so forcefully that those who insult me will not dare to place the head of their horse where the tail of mine will be.’ The battle was lost and Barbezan was killed after prodigies of valor. Lying on the battlefield bathing in his own blood, but still breathing, he sees de Commercy passing, spurring his horse to flee as quickly as possible. Full of indignation, Barbezan lifts his dying head and reanimates his strength in order to address reproaches to the unworthy knight. ‘I promised my darling,’ replied the latter, coldly. ‘In fact,’ says an old chronicler, ‘the youth had to go, at vespers, to see a certain Agathe, whom he had promised that he would quit the battle and come to her bedroom—which is better, she said, than a field where there is nothing but blows and pikes.’ The place where Barbezan fell and died, marked by two elms hollowed out by time, is still celebrated and sacred. A rustic bridge and a small hill bear his name, which is not forgotten by the simple villagers, who still repeat it today with veneration.” The reference is to Arnaud de Barbazan, “le chevalier sans reproche,” who was René d’Anjou’s most faithful supporter and became a model of knightly loyalty in consequence.

  24 Berthoud did publish a collection called Contes misanthropiques (tr. as Misanthropic Tales) in 1832, but it does not contain the quotation reproduced here. It might be from a story belatedly omitted from the collection, but it is more likely that Berthoud simply improvised it ad hoc for the purposes of the present story, as he often did.

  25 Berthoud’s use of the term “talion” here is enigmatic, and seems to have no warrant in any dictionary, but it is possible that it is a contraction of “tabellion,” meaning scrivener or clerk, usually in a legal context.

  26 There is an 1813 vaudeville entitled Elle et Lui, but the quoted lines do not appear in it.

  27 The reference appears to be fictitious.

  28 The references is presumably to Lettres flamandes ou Histoire des variations et contradiction de la prétendue religion naturelle, published anonymously in Lille in 1752, allegedly the work of Charles-Louis Richard and Joseph-Robert-Alexandre Duhamel, but the quotation is f
ake.

  29 Fake, unsurprisingly.

  30 It is not obvious which of the five Comtes de Flandre with this name is referenced in the ballad, since none was conventionally credited with the nickname in question, but it is most probably the first, previously celebrated in the ballad “Beauduin Bras-de-Fer.”

  31 Simon Brade-vie was Simon de Marlis, who died in 1305, and whose presence in the present story is therefore anachronistic. An account of him is given in Le Carpentier’s Histoire de Cambrai et de Cambrésis (1664), previously mentioned as key source from which Berthoud drew raw materials.

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