The story of a plot by Bussy D'Ambois's kinsfolk to avenge his murder is, in the main, of Chapman's own invention. But he had evidently read an account similar to that given later by De Thou of the design entertained for a time by Bussy's sister RenÉe (whom Chapman calls Charlotte) and her husband, Baligny, to take vengeance on Montsurry. Clermont D'Ambois is himself a fictitious character, but the episodes in which he appears in Acts II-IV are drawn from the account of the treacherous proceedings against the Count d'Auvergne in Edward Grimeston's translation of Jean de Serres's Inventaire GÉnÉral de l'Histoire de France. This narrative, however, is not by De Serres, but by Pierre Matthieu, whose Histoire de France was one of the sources used by Grimeston for events later than 1598.
The portraiture of Clermont throughout the play as the high-souled philosopher is inspired by Epictetus's delineation in his Discourses of the ideal Stoic. But in his reluctance to carry out his duty of revenge he is evidently modelled upon Hamlet. In Act v, Scene i, the influence of Shakespeare's tragedy is specially manifest.
The Scenes in Act v relating to the assassination of Guise are based upon Grimeston's translation of De Serres's Inventaire GÉnÉral.
The passages in Grimeston's volume which recount the Duke's murder, and those which tell the story of the Count d'Auvergne, are reprinted as an Appendix.
The frontispiece to this volume, the ChÂteau of La CoutanciÈre, at which Bussy D'Ambois was killed, is reproduced from an illustration in A. Joubert's Louis de Clermont.
TO THE RIGHT
VERTUOUS, AND
truely Noble Knight, Sr.
Thomas Howard, &c.
Sir,
Since workes of this kinde have beene lately esteemed
worthy the patronage of some of our worthiest
Nobles, I have made no doubt to preferre this of mine
to your undoubted vertue and exceeding true noblesse,
as contayning matter no lesse deserving your reading, 5
and excitation to heroycall life, then any such late dedication.
Nor have the greatest Princes of Italie and other
countries conceived it any least diminution to their greatnesse
to have their names wing'd with these tragicke
plumes, and disperst by way of patronage through the 10
most noble notices of Europe.
Howsoever, therefore, in the scÆnicall presentation it
might meete with some maligners, yet, considering even
therein it past with approbation of more worthy judgements,
the ballance of their side (especially being held 15
by your impartiall hand) I hope will to no graine abide
the out-weighing. And for the autenticall truth of eyther
person or action, who (worth the respecting) will expect
it in a poeme, whose subject is not truth, but things like
truth? Poore envious soules they are that cavill at truths 20
want in these naturall fictions: materiall instruction, elegant
and sententious excitation to vertue, and deflection
from her contrary, being the soule, lims, and limits of an
autenticall tragedie. But whatsoever merit of your full
countenance and favour suffers defect in this, I shall soone 25
supply with some other of more generall account; wherein
your right vertuous name made famous and preserved to
posteritie, your future comfort and honour in your present
acceptation and love of all vertuous and divine expression
may be so much past others of your rancke encreast, as 30
they are short of your judiciall ingenuitie, in their due
estimation.
For howsoever those ignoble and sowre-brow'd
worldlings are carelesse of whatsoever future or present
opinion spreads of them; yet (with the most divine 35
philosopher, if Scripture did not confirme it) I make it
matter of my faith, that we truely retaine an intellectuall
feeling of good or bad after this life, proportionably
answerable to the love or neglect we beare here to all
vertue and truely-humane instruction: in whose favour 40
and honour I wish you most eminent, and rest ever,
Your true vertues
most true observer,
Geo. Chapman.
