The Thieving Magpie

The Thieving Magpie
Originally La Pie voleuse ou La Servante de Palaiseau
Inspiration
Earliest appearance	1815
Original author	Théodore Baudouin d'Aubigny and Louis-Charles Caigniez
Country of origin	France

The Thieving Magpie was originally a French play called 'La Pie voleuse ou La Servante de Palaiseau' (lit. The thieving magpie or The Maid of Palaiseau) (usually abridged as 'La Pie voleuse') written by Théodore Baudouin d'Aubigny and Louis-Charles Caigniez which premiered in Théâtre de la Porte Saint-Martin on the 29th of April 1815. This story is said to be inspired by real life events: a servant was accused of a theft that was actually by a magpie.

Gioachino Rossini was inspired to write the Italian melodramma 'La gazza ladra' (lit. The thieving magpie) based on La Pie volouse, which premiered 31st of May 1817 at La Scala in Milan. This version brought the story to an international audience and helped popularize the tale of the thieving magpie beyond France and Italy. Its widespread recognition likely inspired Herman van Veen in crafting the storyline featuring Pikkie de Ekster, which begins in episode 2 and concludes in episode 3 of the animated series.

The Thieving Magpie is a powerful illustration of an innocent victim that's nearly destroyed by judicial error, making it a cautionary tale about justice, truth and the death penalty.

History

The maid of Palaiseau

According to legend, in 1631 a servant girl in Palaiseau (near Paris) was found guilty of stealing her master's silverware. Despite her claims of innocence, she was tried and executed, as no other suspect was identified. Several years later, the missing silver items were discovered in the nest of a magpie, posthumously proving the girl's innocence.

The writers of the play La Pie voleuse ou La Servante de Palaiseau later claimed the story was based on true events. A 19th-century playbill for La Pie voleuse, ou La Servante de Palaiseau describes it as a “mélodrame historique” (lit. “historical melodrama”). However, some scholars such as Marie-Bernadette Bruguière suggest it is just as likely a folk tale.

The tale gained widespread circulation and was frequently retold as a cautionary example of the dangers of relying solely on circumstantial evidence. It was included in 18th-century collections of causes célèbres (famous legal cases) as a classic instance of wrongful conviction. The story also sparked questions about the validity of capital punishment among the public, although it did not result in any immediate legal reforms. It would take another century before Victor Hugo would ignite a renewed public debate on the death penalty.

Playbill for La Pie voleuse, ou La Servante de Palaiseau, describing the story as a “mélodrame historique”, or historical melodrama.

In Palaiseau’s Musée Palaisien du Hurepoix, a section is dedicated to the subject, claiming to recount the true story of the maid of Palaiseau. Additionally, the town has a street named after the tale: la rue de «la pie voleuse» (lit. "The Street of the Thieving Magpie"), which runs from St. Martin Church to the Saclay Plateau.

La Pie voleuse ou La Servante de Palaiseau

Based on the events of 1631, Théodore Baudouin d'Aubigny and Louis-Charles Caigniez wrote the French stage play La Pie voleuse ou La Servante de Palaiseau, which premiered on 29 April 1815 at the Théâtre de la Porte Saint-Martin.

The authors significantly altered the original story to suit theatrical conventions of the time. Notably, the ending was changed to have the maid saved at the last moment, in keeping with the expected uplifting resolution of a melodrama. The writers also introduced a romantic interest for the maid and a lecherous, vengeful official who pursues her. Whereas the original legend featured no one advocating for the maid's innocence, the play included multiple characters working to prove her innocence.

The play was highly popular and inspired numerous translations, including versions in English and Italian.

La gazza ladra

One such adaptation was the melodramma in two acts, La gazza ladra, composed by Gioachino Rossini with a libretto by Giovanni Gherardini. The opera premiered on 31 May 1817 at La Scala in Milan. Rossini’s version became the most internationally acclaimed adaptation of the story.

La gazza ladra is particularly well known for its overture, which is musically notable for its use of snare drums. The section including this percussive element is often interpreted as evoking the stealthy and mischievous nature of the opera’s central figure, the thieving magpie.

In 1818, the opera was revised by Rossini to prepare it for new productions, beginning with a staging in Pesaro. It was subsequently performed in 1819 at the Teatro del Fondo and in 1820 at the Teatro di San Carlo, both located in Naples. Later, in 1866, Rossini revised the music for a performance in Paris, incorporating embellishments and variations specifically written for Giuseppina Vitali, who performed the role of Ninetta. A further revision followed in 1867, featuring additional embellishments and cadenzas tailored for Adelina Patti, who also portrayed the lead character.

The opera was introduced to England in 1821 and also found its way to France, where it was performed under its original French title, La pie voleuse.

Summary

La Pie voleuse ou La Servante de Palaiseau

The story centers on Annette, a virtuous young maid who works for a wealthy farming couple, Gérard and his suspicious wife, Dame Gérard. The local magistrate—referred to as “the official”—makes unwanted advances toward Annette, which she firmly rejects. Holding a grudge, the official seizes an opportunity to retaliate when a silver spoon and fork go missing from the Gérard household, and suspicion quickly falls on Annette.

The official uses the incident as a pretext to ruin her, bringing her to trial despite the lack of substantial evidence. Although Annette maintains her innocence, she is found guilty and sentenced to death by hanging.

At the last moment, Blaisot, a young farmer and Annette’s fiancé, discovers a magpie’s nest containing the stolen silverware. Annette is exonerated just in time. In the final lines of the play, it is declared: “Nothing remained for him [the official] but—to hang the magpie.”