In Byways of Scottish History

Yestreen the Queen had four Maries,
The night she'll hae but three;
There was Marie Seton, and Marie Beton,
And Marie Carmichael and me.

To those who are acquainted with the whole of the ballad, which records the sad fate of the guilty Mary Hamilton, it must have occurred that there is a striking incongruity between the traditional loyalty of the Queen's Marys and the alleged execution of one of their number, on the denunciation of the offended Queen herself, for the murder of an illegitimate child, the reputed offspring of a criminal intrigue with Darnley. Yet a closer investigation of the facts assumed in the ballad leads to a discovery more unexpected than even this. It establishes, beyond the possibility of a doubt, that, of the four family-names given in the stanza as those of the four Marys, two only are authentic. Mary Carmichael and Mary Hamilton herself are mere poetical myths. Not only does no mention of them occur in any of the lists still extant of the Queen's personal attendants, but there also exist documents of all kinds, from serious historical narrative and authoritative charter to gossiping correspondence and polished epigram, to prove that the colleagues of Mary Beton and Mary Seton were Mary Fleming and Mary Livingston. How the apocryphal names have found their way into the ballad, or how the ballad itself has come to be connected with the Maids of Honour, cannot be determined. There is, however, in Knox's History of the Reformation, a passage which has been looked upon as furnishing a possible foundation of truth to the whole fiction. It is that in which he records the commission and the punishment of a crime similar to that for which Mary Hamilton is represented as about to die on the gallows. "In the very time of the General Assembly there comes to public knowledge a haynous murther, committed in the Court; yea, not far from the queen's lap: for a French woman, that served in the queen's chamber, had played the whore with the queen's own apothecary. The woman conceived and bare a child, whom with common consent, the father and mother murthered; yet were the cries of a new-borne childe hearde, searche was made, the childe and the mother were both apprehended, and so was the man and the woman condemned to be hanged in the publicke street of Edinburgh. The punishment was suitable, because the crime was haynous."[50 - Knox's History of the Reformation, pp. 373, 374.] Between this historical fact – for the authenticity of which we have also the testimony of Randolph[51 - Writing to Cecil on the 31st of December, 1563, Randolph reports: "The frenche potticarie and the woman he gotte with chylde were bothe hanged thys present Fridaye".] – and the ballad, which substitutes Darnley and one of the Maids of Honour for the queen's apothecary and a nameless waiting-woman, the connection is not very close. Indeed, there is but one point on which both accounts are in agreement, though that, it is true, is an important one. The unnatural mother whose crime, with its condign punishment, is mentioned by the historian, was, he says, a French woman. The Mary Hamilton of the ballad, in spite of a name which certainly does not point to a foreign origin, is also made to come from over the seas:

I charge ye all, ye mariners,
When ye sail ower the faem;
Let neither my father nor my mother get wit
But that I'm coming hame.

—

O, little did my mother ken,
The day she cradled me,
The lands I was to travel in,
Or the death I was to dee.

It does not, however, come within the scope of the present paper to examine more closely into the ballad of Mary Hamilton. It suffices to have made it clear that, whatever be their origin, the well-known verses have no historical worth or significance, and no real claim to the title of "The Queen's Marie" prefixed to them in the Minstrelsy of the Scottish Border.[52 - In Mr. Andrew Lang's book, The Valet's Tragedy and other Studies, pp. 291-311, there is an exhaustive discussion of the various points that arise in connection with the ballad of "The Queen's Marie".] Except for the purpose of correcting the erroneous, but general belief, which has been propagated by the singular and altogether unwarranted mention of the "Four Marys", and the introduction of the names of two of them in the oft-quoted stanza, there would, in reality, be no necessity for any allusion to the popular poem in a sketch of the career of the fair Maids of Honour, whose touching fidelity through good and evil fortune has won for them a greater share of interest than is enjoyed by any of the subordinate characters in the great historical drama of which their royal mistress is the central figure.

The first historical and authoritative mention of the four Marys is from the pen of one who was personally and intimately acquainted with them – John Leslie, Bishop of Ross. It occurs in his description of the departure of the infant Mary Stuart from the small harbour at the foot of the beetling, castle-crowned rock of Dumbarton, on that memorable voyage which so nearly resembled a flight. "All things being reddy for the jornay," writes the chronicler, in his quaint northern idiom, "the Quene being as than betuix fyve and sax yearis of aige, wes delivered to the quene dowarier hir moder, and wes embarqued in the Kingis awin gallay, and with her the Lord Erskyn and Lord Levingstoun quha had bene hir keparis, and the Lady Fleming her fadir sister, with sindre gentilwemen and nobill mennis sonnes and dochteres, almoist of hir awin age; of the quhilkes thair wes four in speciall, of whom everie one of thame buir the samin name of Marie, being of four syndre honorable houses, to wyt, Fleming, Levingstoun, Seton and Betoun of Creich; quho remainit all foure with the Quene in France, during her residens thair, and returned agane in Scotland with her Majestie in the yeir of our Lord ImVclxi yeris."[53 - Bishop Lesley's History of Scotland, p. 209.] Of the education and early training of the four Marys, as companions and playmates of the youthful queen, we have no special record. The deficiency is one which our knowledge of the wild doings of the gayest court of the age makes it easy to supply. For the Scottish maidens, as for their mistress, intercourse with the frivolous company that gathered about Catherine de' Medici was but indifferent preparation for the serious business of life. Looking back on "those French years", doubtless they too, like her, "only seemed to see —

A light of swords and singing, only hear
Laughter of love and lovely stress of lutes,
And in between the passion of them borne
Sound of swords crossing ever, as of feet
Dancing, and life and death still equally
Blithe and bright-eyed from battle."

Brantôme, to whom we are indebted for so much personal description of Mary Stuart, and so many intimate details concerning her character, tastes, and acquirements, is less communicative with respect to her four fair attendants. He merely mentions them amongst the court beauties as "Mesdamoiselles de Flammin, de Ceton, Beton, Leviston, escoissaises".[54 - Brantôme, t. v, p. 74.] He makes no allusion to them in the pathetic description of the young queen's departure from her "sweet France" on the fateful 24th of August, a date which subsequent events were destined to mark with a fearful stain of blood, in the family to which she was allied. Yet, doubtless they, too, were gazing with tearful eyes at the receding shore, blessing the calm which retarded their course, trembling with vague fears as their voyage began amidst the cries of drowning men, and half wishing that the English ships of the jealous Elizabeth might prevent them from reaching their dreary destination. That they were with their royal namesake, we know. Leslie, who, with Brantôme and the unfortunate Chastelard, accompanied the idol of France to her unsympathetic northern home, again makes special note of "the four maidis of honour quha passit with hir Hienes in France, of her awin aige, bering the name everie ane of Marie, as is befoir mencioned".

During the first years of Mary Stuart's stay in her capital, the four maids of honour played conspicuous parts in all the amusements and festivities of the court, and were amongst those who incurred the censure of the austere Reformers for introducing into Holyrood the "balling, and dancing, and banquetting"[55 - Knox's History of the Reformation, book v, vol. ii, p. 495.] of Amboise and Fontainbleau. Were our information about the masques acted at the Scottish Court less scanty, we should, doubtless, often find the names of the four Marys amongst the performers. Who more fit than they to figure in the first masque represented at Holyrood, in October, 1561, at the Queen's farewell banquet to her uncle, the Grand Prior of the Knights of St. John, and to take their places amongst the Muses who marched in procession before the throne, reciting Buchanan's flattering verses in praise of the lettered court of the Queen of Scots?

Banished by War, to thee we take our flight,
Who still dost worship at the Muses' shrine,
And, solaced by thy presence, day and night,
Nor murmur at our exile, nor repine.

Had Marioreybanks given us the names of those who took part in the festivities which he describes as having taken place on the occasion of Lord Fleming's marriage, can we doubt that the Marys would have been found actively engaged in the open-air performance "in the Parke of Holyroudhous, under Arthur's Seatt, at the end of the loche"?[56 - Annals of Scotland, p. 14.] Indeed, it is not matter of mere conjecture, but of authentic historical record, that on more than one occasion Buchanan did actually introduce the Queen's namesakes amongst the dramatis personæ of the masques which, as virtual laureate of the Scottish Court, he was called upon to supply. The Diurnal of Occurrents mentions that "upoun the ellevint day of the said moneth (February) the King and Quene in lyik manner bankettit the samin (French) Ambassatour; and at evin our Soveranis maid the maskrie and mumschance, in the quhilk the Queenis Grace and all hir Maries and ladies were all cled in men's apperell; and everie ane of thame presentit ane quhingar, bravelie and maist artificiallie made and embroiderit with gold, to the said Ambassatour and his gentilmen, everie ane of thame according to his estate".[57 - Diurnal of Occurrents, p. 87.] That this, moreover, was not the first appearance of the fair performers we also know, for it was they who bore the chief parts in the third masque acted during the festivities which attended the Queen's marriage with Darnley; and it was one of them, perhaps Mary Beton, the scholar of the court, who recited the verses which Buchanan had introduced in allusion to their royal mistress's recovery from some illness otherwise unrecorded in history:

Kind Goddess, Health, four Nymphs their voices raise
To welcome thy return and sing thy praise,
To beg as suppliants that thou wouldst deign
To smile benignly on their Queen again,
And make her royal breast thy hallowed shrine,
Where best and worthiest worship shall be thine.

That the four Nymphs mentioned in this, the only fragment of the masque which has been preserved, were the four Marys, is explained by Buchanan's commentator, Ruddiman: "Nymphas his vocat quatuor Mariæ Scotæ corporis ministras, quæ etiam omnes Mariæ nominabantur". It is more than probable, too, that the Marys were not merely spectators of the masque which formed a part of the first day's amusements, and of which they themselves were the subject-matter. It may still be read under the title of "Pompa Deorum in Nuptiis Mariæ", in Buchanan's Latin poems. Diana opens the masque, which is but a short mythological dialogue, with a complaint to the ruler of Olympus that one of her five Marys – the Queen herself is here included – has been taken from her by the envious arts of Venus and of Juno:

Five Marys erst my boast and glory were,
Each one in youthful beauty passing fair;
Whilst these enhanced the splendour of my state
To all the gods I seemed too fortunate,
Till Venus, urged by Juno in her ire,
Stole one away and marred my comely quire,
Whereof the other four now grieve that they
Must, like the Pleiads, shine with lessened ray.

In the dialogue which follows, and in which five goddesses and five gods take part, Apollo chimes in with a prophecy which was only partially accomplished:

Fear not, Diana, cast away thy care,
And hear the tidings which I prescient bear;
Juno decrees thy Marys shall be wed,
And in all state to Hymen's altar led,
But each to fill its lessened ranks again,
Will add her offspring to thy beauteous train.

In his summing up, which, as may be imagined, is not very favourable to the complainant, the Olympian judge also introduces a prettily turned compliment to the Marys:

Five Marys erst were thine and each one meet
With goddesses in beauty to compete;
Each worthy of a god, if iron fate
Allowed the gods to choose a mortal mate.

The whole pageant closes with an epilogue spoken by the herald Talthybius, who also foretells further defections from Diana's maidens:

Another marriage! Hear the joyful cry:
Another Mary joined in nuptial tie!

As was but natural, the Queen's favourite attendants possessed considerable influence with their royal lady, and the sequel will show, in the case of each of them, how eagerly their good offices were sought after by courtiers and ambassadors anxious for the success of their several suits and missions. In a letter which Randolph wrote to Cecil on the 24th of October, 1564, and which, as applying to the Marys collectively, may be quoted here, we are shown the haughty Lennox himself condescending to make pretty presents to the maids with a view to ingratiating himself with the mistress. "He presented also each of the Marys with such pretty things as he thought fittest for them, such good means he hath to win their hearts, and to make his way to further effect."[58 - Calendar of State Papers, Eliz., vol. ix.]

MARY FLEMING

It is scarcely the result of mere chance that, in the chronicles which make mention of the four Marys, Mary Fleming's name usually takes precedence of those of her three colleagues. She seems to have been tacitly recognized as "prima inter pares". This was, doubtless, less in consequence of her belonging to one of the first houses in Scotland, for the Livingstons, the Betons, and the Setons might well claim equality with the Flemings, than of her being closely related to Mary Stuart herself, though the relationship, it is true, was only on the side of the distaff, and though there was, moreover, a bar sinister on the royal quarterings which it added to the escutcheon of the Flemings. Mary Fleming – Marie Flemyng, as she signed herself, or Flamy, as she was called in the Queen's broken English – was the fourth daughter of Malcolm, third Lord Fleming. Her mother, Janet Stuart, was a natural daughter of King James IV. Mary Fleming and her royal mistress were consequently first cousins. This may sufficiently account for the greater intimacy which existed between them. Thus, after Chastelard's outrage, it was Mary Fleming whom the Queen, dreading the loneliness which had rendered the wild attempt possible, called in to sleep with her, for protection.

Amongst the various festivities and celebrations which were revived in Holyrood by Mary and the suite which she had brought with her from the gay court of France, that of Twelfth Night seems to have been in high favour, as, indeed, it still is in some provinces of France at the present day. In the "gâteau des Rois", or Twelfth Night Cake, it was customary to hide a bean, and when the cake was cut up and distributed, the person to whom chance – or not infrequently design – brought the piece containing the bean, was recognized sole monarch of the revels until the stroke of midnight. On the 6th of January, 1563, Mary Fleming was elected queen by favour of the bean. Her mistress, entering into the spirit of the festivities, with her characteristic considerateness for even the amusement of those about her, abdicated her state in favour of the mimic monarch of the night. A letter written by Randolph to Lord Dudley, and bearing the date of the 15th of January, gives an interesting and vivid picture of the fair maid of honour decked out in her royal mistress's jewels: "You should have seen here upon Tuesday the great solemnity and royall estate of the Queen of the Beene. Fortune was so favourable to faire Flemyng, that, if shee could have seen to have judged of her vertue and beauty, as blindly she went to work and chose her at adventure, shee would sooner have made her Queen for ever, then for one night only, to exalt her so high and the nixt to leave her in the state she found her… That day yt was to be seen, by her princely pomp, how fite a match she would be, wer she to contend ether with Venus in beauty, Minerva in witt, or Juno in worldly wealth, haveing the two former by nature, and of the third so much as is contained in this realme at her command and free disposition. The treasure of Solomon, I trowe, was not to be compared unto that which hanged upon her back… The Queen of the Beene was in a gowne of cloath of silver; her head, her neck, her shoulders, the rest of her whole body, so besett with stones, that more in our whole jewell house wer not to be found. The Queen herself was apparelled in collours whyt and black, no other jewell or gold about her bot the ring that I brought her from the Queen's Majestie hanging at her breast, with a lace of whyt and black about her neck." In another part of the same letter the writer becomes even more enthusiastic: "Happy was it unto this realm," he says, "that her reign endured no longer. Two such nights in one state, in so good accord, I believe was never seen, as to behold two worthy queens possess, without envy, one kingdom, both upon a day. I leave the rest to your lordship to be judged of. My pen staggereth, my hand faileth, further to write… The cheer was great. I never found myself so happy, nor so well treated, until that it came to the point that the old queen herself, to show her mighty power, contrary unto the assurance granted me by the younger queen, drew me into the dance, which part of the play I could with good will have spared to your lordship, as much fitter for the purpose."[59 - Miscellany of the Maitland Club, vol. ii, pp. 390-3.]

The queen of this Twelfth-Tide pageant was also celebrated by the court poet Buchanan. Amongst his epigrams there is one bearing the title: "Ad Mariam Flaminiam sorte Reginam":

Could worth or high descent a crown bestow,
Thou hadst been Queen, fair Fleming, long ago;
Were grace and beauty titles to the throne,
No grace or beauty had outshone thine own;
Did vows of mortal men avail with Fate,
Our vows had raised thee to the royal state.
The fickle Deity that rules mankind,
Though blind and deaf and foolish in her mind,
Seemed neither foolish, deaf, nor blind to be