Marie-Josephte Corriveau
Marie-Josephte Corriveau (1733 at Saint-Vallier, Quebec – at Quebec City), better known as "la Corriveau", is a well-known figure in Québécois folklore. She lived in New France, and was sentenced to death by a British court martial for the murder of her second husband, was hanged for it and her body hanged in chains. Her story has become a legend in Quebec, and she is the subject of many books and plays. Early life. Marie-Josephte Corriveau was born in 1733, most probably in January or February, and baptised on May 14, 1733, in the  rural parish of Saint-Vallier in New France. She was the only surviving offspring of Joseph Corriveau, a farmer, and Marie-Françoise Bolduc. Her ten brothers and sisters all died in childhood. Marriages and deaths of spouses. Corriveau married at the age of 16, on November 17, 1749, to Charles Bouchard, aged 23, also a farmer. Three children were born in this marriage: two daughters, Marie-Françoise (1752) and Marie-Angélique (1754), followed by a son, Charles (1757). Rumors (that only started after the death of her second husband) say that she murdered him, as there is no concrete record  of his death. Charles Bouchard was buried on April 27, 1760, and she remarried fifteen months later, on July 20, 1761, to another farmer from Saint-Vallier, Louis Étienne Dodier. On the morning of January 27, 1763, he was found dead in his barn, with multiple head wounds. Despite an official recording of the cause of death being from kicks of horses' hooves, and a speedy burial, rumours and gossip of murder spread rapidly through the neighbourhood. Dodier was on bad terms with his father-in-law and with his wife. Arrest and trial. At the time, New France had  been conquered by the British in 1760 as part of the Seven Years' War and was under the administration of the British Army. On hearing the rumours, the local British military authorities (charged with keeping order) set up an inquiry into Dodier's death. The inquiry opened in Quebec City on March 29, 1763, at the Ursulines of Quebec, charging Joseph Corriveau and his daughter Marie-Josephte, before a military tribunal made up of 12 English officers and presided over by Lieutenant Colonel Roger Morris. Many persons in the community had testified, including Joseph's niece and Marie-Josephte's  cousin, a young woman approximately the same age as Marie-Josephte named Isabelle Sylvain. The case ended, on 9 April, with Joseph Corriveau being sentenced to death, for culpable homicide of his son-in-law. Marie-Josephte was found to be an accomplice to murder, and sentenced to 60 lashes and branded with the letter M on her hand. One of Joseph Corriveau's nieces, Isabelle Sylvain (who he employed as a servant), had testified but changed her story several times during the hearing; she was found guilty of perjury and given 30 lashes and branded with the letter P.  Condemned to hang, Joseph Corriveau then told his confessor, that he was no more than an accomplice to his daughter, after she had killed Dodier. At a second trial, on 15 April, Marie-Josephte testified to having killed her husband with two blows of a hatchet during his sleep, because of his ill-treatment of her. The tribunal found her guilty and sentenced her to hang, her body after to be "hanged in chains" (that is, put up for public display on a gibbet). Execution. The place of execution was Quebec, on the Buttes-à-Nepveu, near the Plains of  Abraham, probably on 18 April. Her body was then taken, as directed by the sentence, to be put in chains at Pointe-Lévy, at the crossroads of Lauzon and Bienville (today Saint-Joseph Street and De l'Entente Boulevard). The body, in its iron gibbet, was exposed to the public view until May 25 at the earliest. Following the requests of those living nearby, an order from the military commander of the district of Quebec, James Murray, addressed to the captain of the militia of Pointe-Lévy, permitted its being taken down and buried. In 1851, the "cage" was dug up  from the cemetery of the church of Saint-Joseph-de-la-Pointe-Lévy when a pit was dug. Soon after, the cage was stolen from the church cellar, and acquired by the American impresario P. T. Barnum and put on display as a "macabre object". After that, it was put on display at The Boston Museum. The museum slip indicated its provenance with two words: "From Quebec". Through the efforts of the Société d'histoire de Lévis, the cage was acquired from the Boston Museum and is now part of a permanent display at Musée de la civilisation in Quebec City . In legend. The post-mortem exhibition of Corriveau's remains at a busy crossroads (a practice also in use under the French regime, and reserved in England for those found guilty of the most serious crimes); the repercussions in the trial; the rumour that her father would be convicted of murdering Dodier at his daughter's instigation; and the gossip which grew up around the circumstances of the death of her first husband all stirred up the popular imagination and became legends still told today in the oral tradition — increasing the number of murdered husbands to as many as seven  and likening la Corriveau to a witch. The 1851 discovery of the iron cage buried in the cemetery of Saint-Joseph Parish (now the Lauzon district) served to reawaken the legends and the fantastic stories, which were amplified and used by 19th-century writers. The first, in 1863, Philippe Aubert de Gaspé in "Les Anciens Canadiens", has a supernatural Corriveau hanging in the Pointe-Levy cage, terrorising one night a passer-by conducting a witches' Sabbath and Will-o'-the-wisp at the Île d'Orléans. James MacPherson Le Moine ("Maple Leaves", 1863) and William Kirby, following in his footsteps ("The Golden  Dog", 1877), made her a professional poisoner, a direct descendant of La Voisin, famous for her purported role in The Affair of the Poisons. Writers and historians such as Louis Fréchette and Pierre-Georges Roy have tried to give Corriveau's history, but without completely separating the facts from the anachronistic fantasies added in legend and novels. The figure of Corriveau still inspires novels, songs and plays and is the subject of arguments concerning guilt. Oral tradition also perpetuated and has not stopped, and remains alive, as is evidenced by the numerous stories collected in the lands of many regions  of Quebec. External links. Archive documents Oral tradition Song Sculpture Popular culture Animated film Commercial use