CHASTELARD, PierreBoscobel de (1540-1563), a French poet whose name is inseparably connected with that of Mary Queen of Scots, was born in Dauphiné, and was a scion of the house of Bayard. From the service of the Constable Montmorency, Chastelard, then a page, passed to the household of Marshal Damville, whom he accompanied in his journey to Scotland in escort of Mary (1561). He returned to Paris in the marshal’s train, but left for Scotland again shortly afterward, bearing letters of recommendation to Mary from his old protector, Montmorency, and the Regrets addressed to the ex-queen of France by Pierre Ronsard, his master in the art of song. He is also understood to have undertaken the charge, for transmission to the poet, of the service of plate with which Mary rewarded him. But he had fallen in love with the queen, who is said to have encouraged his passion. Copie» of verse passed between them; she lost no occasion of showing herself partial to his person and conversation. The young man hid himself under her bed, where he was discovered by her maids of honour. Mary pardoned the offence, and the old familiar terms between them were resumed. Chastelard was so rash as again to violate her privacy. He was discovered a second time, seized, sentenced, and hanged the next morning. He met his fate valiantly and consistently, reading, on his way to the scaffold, his master’s noble Hymne de la Mort — u Très-bien fait et propre pour ne point faire abhorer la mort”—and turning at the instant of doom towards the palace of Holyrood, to address to his unseen mistress the famous farewell—“Adieu, toi si belle et si cruelle, qui me tues et que je ne puis cesser d’aimer.” This at least is the version of Brantôme, who is, however, as notoriously untrustworthy as ...an authority as he is charming as a writer. Another account is that the plaint was a reproach, contained in the exclamation “Cruelle reine!” and emphasized by a threatening gesture addressed to Mary’s apartments.
Sworder and amorist, audacious aud irreligious, with a strong sense of the nobility of art and some taste for its practice, Chastelard is a favourable specimen of the golden youth of the French Renaissance. As a poet he is not remarkable—merely one of “the mob of gentlemen who wrote with case,” in spite of the notes of truth and passion occasionally to be distinguished through the clink and fall of his verse. But for his maduess of love, indeed, it is possible that he would have left no shadow or shred of himself behind. As it is, however, his life and death are of interest as illustrating the wild days in which his lot was cast.
See Chalmers, Life of Mary Queen of Scots ; Knox, History oj the Reformation; Miguet, Histoire de Marie Stuart; Dargaud Histoire de Marie Stuart ; Le Laboureur, Mémoires de Castelnau, Brantôme, Mémoires. Mr Swinburne’s tragedy of Chastelard is too well known to need more than passing reference.
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