Today's episode was created as part of a collaboration with the Boopod network of true crime and paranormal podcasts. In it, we explore a deep, dark tale pulled from the folklore of my native French Canada: La Corriveau, a favourite of Ranconteurs in Quebec’s oral storytelling tradition.

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STORY TRANSCRIPT:

Marie-Josephte Corriveau, later dubbed La Corriveau after her execution in 1763, is synonymous with tales of witchcraft and hauntings in French Canadian folklore. Stories of La Corriveau terrorizing visitors to the area of Old Quebec where her body was hanged in a metal cage have been told for centuries, and persist to this day in the minds of many Quebecers.

The discovery of her cage in 1851 at a local church cemetery revived people’s imaginations and inspired stories that appeared in several print books, both as novels and as part of short story collections at the time. Since then, the character of La Corriveau has appeared in songs, films, theater productions, and artwork such as sculptures and paintings.

In the oral storytelling tradition of Quebec La Corriveau has been depicted as a murderous witch who killed up to 7 husbands. In more modern times, starting in the 1960s and 70s, with both the feminist movement and the Quebec Nationalist movement, Marie-Josephte Corriveau became both a symbol of English Oppression and a victim of a Patriarchal Society.

THE FACTS

Born in 1733, Marie-Josephte Corriveau had 10 siblings, all of whom died at a young age. She married a man named Charles Bouchard at age 16 and had 3 children before becoming a widow 11 years later. Just over 1 year after Charles’ death, she remarried. Her second husband, Etienne Dodier, was found dead in his barn a year and a half later, with extensive injuries to the head. Initially, it was concluded the injuries he sustained were from a horse’s hooves, but suspicion and rumours of homicide quickly spread through town due in part to Mr Dodier being at odds with both his father-in-law and his wife.

At this point in history, Quebec was known as New France, and had recently fallen under British rule. Upon hearing the rumours, the British Military, who was in charge of maintaining order, opened an investigation into Dodier’s death. At the conclusion of this investigation, Marie-Josephte Corriveau and her father Joseph are arrested. They are brought before a military tribunal composed of 12 English officers and presided over by Lieutenant-Colonel Roger Morris. The court finds Joseph Corriveau guilty of murder and condemns him to death, while Marie-Josephte is found guilty of being an accomplice and condemned to 60 lashes and having the letter M branded onto her hand. 

On the eve of his execution, Marie-Josephte’s father allegedly confessed to a priest that he was only an accomplice to the murder, and that his daughter was the actual perpetrator. Marie-Josephte Corriveau was brought back to court, where she confessed to killing her husband with an ax while he was sleeping due to his poor treatment of her and his abusive ways. The court found her guilty of murder and not only condemned her to death, but specified that after her execution her body should “Hang in Chains” – this was the actual verbiage used at the time. This punishment was new to the inhabitants of New France as it did not exist while the area was still under French rule. Joseph Corriveau, Marie-Josephte’s father, was retried, found not guilty, and released.

Marie-Josephte Corriveau was executed on the grounds where the Quebec Parliament now stands near the Plains of Abraham, the battlefield where the French lost to the British. Her body was placed in a metal cage and put on public exhibit for 5 weeks after which a British commander gave the order for her body to be taken down and buried “wherever they see fit” was the quote.

THE LORE

Marie-Josephte Corriveau was one of the first people in New France to have their body exhibited in a metal cage. This lit the imaginations of the population which spun legends that have lived on ever since in Quebec’s oral storytelling tradition. The trouble with oral storytelling, though, is that it turns into a game of telephone, and over the years La Corriveau’s body count went from one husband to seven, and her character went from being a simple murderess to an evil witch with supernatural powers.

The discovery of the cage that had contained her body in a local cemetery in 1851 sparked newfound interest in her story and reactivated the legends and lore surrounding it. Authors created fictionalized accounts of a supernatural Corriveau hanging in her cage, terrorizing passersby as she pleaded with them to take her to a witch’s den on the neighbouring Island of Orleans. She was also depicted as having a deep knowledge of poisons, and was rumoured to be a direct descendand of Catherine DesHayes – better known as La Voisine – an infamous serial killer in France in the mid-1600s.

It was rumoured that La Corriveau had also killed her first husband by pouring molten lead into his ear while he slept. She was said to have been a very jealous woman and found her husband to be too much of a libertine, and so doled out her punishment. She was depicted as a psychopath and said to be without feeling or remorse when, first, her father was prepared to take the fall for the murder of her 2^nd husband, and eventually when she herself was found guilty of his murder. 

As the legend goes, La Corriveau, from the very first night her body was put on exhibit, would leave her cage and follow passersby. Other iterations suggest she would visit a nearby cemetery to feast on freshly buried bodies. It was also rumoured that anyone who passed by her cage and stopped to gawk would then be cursed with either accidents, psychotic breakdowns, or death.

Accounts from local inhabitants tell stories of hearing a woman screaming, as if being tortured, along with the terrible, macabre sound of iron creaking, even long after the cage had been taken down and buried.

THE CAGE

Upon its re-discovery in 1851, La Corriveau’s cage was exhibited in Montreal, Quebec City, and even on Broadway in New York City where it was purchased by non-other than PT Barnum. Damaged in a fire at Barnum’s American Museum, the cage made its way to the Boston Art Museum via an associate of Barnum’s named Moses Kimball. Upon Kimball’s death in 1899, the cage was donated to a Museum in Salem, Massachusetts. It wasn’t until 2013 that the cage was rediscovered and finally returned home to Quebec when it was acquired by the Quebec Museum of Civilization. It is still stored there today in a controlled environment to prevent its decay, and is occasionally put on display for the public. 

Perhaps, in those times, La Corriveau, once again put on public exhibit, comes out of hiding to follow an unsuspecting visitor who has lingered and stared just a little too long for her liking...

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