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Daily Archives: July 27, 2012

Regionalism in Quebec Fiction: Ringuet’s Trente arpents (Part One)

27 Friday Jul 2012

Posted by michelinewalker in Art, Canada, French-Canadian Literature, Quebec, Regionalism

≈ 7 Comments

Tags

1938, cultivateur, Dr Philippe Panneton, exode, Exodus, Marc-Aurèle de Foy Suzor Coté, Regionalism in Quebec fiction, Ringuet, roman du terroir, United States

 
Returning from the Field,  Marc-Aurèle de Foy Suzor-Coté (National Gallery of Canada)

Returning from the Field by Marc-Aurèle de Foy Suzor-Coté
(National Gallery of Canada)

Marc-Aurèle de Foy Suzor-Coté (6 April 1869 – 29 January 1937)
 

Sans l’homme la terre n’est point féconde c’est ce besoin qu’elle de lui qui le lie à la terre, qui le fait prisonnier de trente arpents de glèbe. (p. 65)

(Without man the land is not fertile.  It is because it needs man that man is tied to the soil, that he is the prisoner of thirty acres of land.)

Trente Arpents (Thirty Acres)[i]

Trente Arpents is considered the last of the regionalist novels.  It is a gem of a novel and won its author, Ringuet, considerable acclaim. Ringuet is a pseudonym for Dr Phillippe Panneton (30 April 1895 [Trois-Rivières] – 28 December 1960 [Lisbon]), a medical doctor who went on to write more novels and became a diplomat.

However, among his other novels, none is so moving as the story of the rise and fall of Euchariste Moisan who is wedded to the trente arpents he has inherited from his uncle Éphrem.  L’oncle Éphrem and his wife never had children, but they brought Euchariste whose entire family perished in a fire when he was still a tiny child.

Spring

At the very beginning of the novel not only does Euchariste learn that he will inherit his uncle’s land, but arrangements are being made for Euchariste to marry a neighbour’s daughter who will dutifully have “son nombre,” or the number of children she is destined to bear, as though her numerous and draining pregnancies had nothing to do with sexual intercourse.

Soon after Éphrem tells Euchariste that when he dies Eurcharist will inherit the thirty acres. Éphrem dies and Euchariste finds himself the owner of the thirty acres land the habitants of New France, rented from their SEIGNEUR.  Because Éphrem dies, Euchariste and Alphonsine may marry a little earlier than anticipated and occupy the large room: “la grande chambre”  The household also includes “la vieille Mélie,” an unmarried elderly woman who simply arrived at Éphrem’s door and never left.  Mélie helps Alphonsine  until she is very old and dies almost imperceptibly in her chair.  As for Alphonsine, she gives birth first to a son, Oguinase, then a daughter who dies shortly after the birth of the couple’s third child.

 Il [Euchariste] les accueillait ces naissances, sans plaisir comme aussi sans regret….  Il fallait qu’Alphonsine eût ‘son nombre’. (p. 67)

(He welcomed these births, without pleasure, yet without regret.  Alphonsine simply had to have ‘her number’.)

Summer

In the second part of the novel, appropriately divided into the four seasons, Euchariste is more of an owner than a farmer. Tilling the land and looking after the farm animals is onerous.  Despite years of draught, Eucharist prospers.  He puts money in the notary’s safe regularly.  As for Alphonsine, she is raising her children and still “féconde” (fertile).

At this point, Éphrem is asked to see the curé, the parish priest.  Oguinase is old enough and sufficiently gifted to be recruited for the priesthood by the curé.  He will not have to pay tuition fees.

So Oguinase leaves for the petit séminaire, the private school, now abolished, that allowed graduates to enter the priesthood, le grand séminaire, or university (law or medicine).  Euchariste talks about his projects.  On their way home, they visit a cousin living in a village.  The house is more humble than Euchariste had expected.  Euchariste talks about his projects: raising hens.  Two events now mark the year: Oguinase’s departure for the college and his return.

Euchariste hopes his son Éphrem will help him more and more, but Éphrem is growing into rebel.  Moreover, the world is changing.  Machines are being used by farmers, machines that can cut fingers off, and cars that kill Euchariste’s hens.  The parist has grown to such an extent that a new parish is founded.  All around him, Euchariste’s world is changing and his new circumstances cause him to stiffen.

Moreover, it seems Alphonsine is again pregnant, but she feels that something is amiss.  She sees her reflection in a mirror and the woman looking at her is no longer Alphonsine. In the mirror she sees an old and sick woman.  A doctor is called who tells her to stay in bed, her death-bed.

There have been good years and years of draught, but Euchariste saves his money.  Oguinase is sent to the petit séminaire.  On their way to the séminaire, Euchariste stops in a village to visit with a cousin and says he will be raising hens.  Machines, cars, enter the picture and they are very destructive.  Machines, cars, enter the picture and they are very destructive.  Euchariste will be raising hens.  Éphrem turns into a bit of a rebel.  Alphonsine dies.  An American cousin and his wife visit.  We suspect Éphrem will leave for the United States.

(Allow me to pause at this point as this blog is now too long.  I will publish a sequel.)
 
_________________________
[i] Ringuet, Trente Arpents (Paris: Flammarion, collection bis 1991[1938]) 
 
 
Winter Landscape, Suzor-Coté, (National Gallery of Canada

Winter Landscape by Marc-Aurèle de Foy Suzor-Coté, 1919 (National Gallery of Canada)

© Micheline Walker
27 July 2012
WordPress
 
revised
12 January 2014 
 
Winter Landscape
       
 
  
 
 
45.408358 -71.934658

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The Ballets Russes, Vaslav Nijinsky & George Barbier

27 Friday Jul 2012

Posted by michelinewalker in Art, Music

≈ 2 Comments

Tags

Ballet Russes, Diaghilev, Enrico Cecchetti, Marius Petipa, Nijinsky, Paris, Sergei Diaghilev, Vaslav Nijinsky

 
 

The above picture, a pochoir by George Barbier, shows Mikhail Fokin‘s (23 April 1880 – 22 August 1942) choreography of Schéhérazade, danced to music by Mily Balakirev and Rimsky-Korsakoff, and starring Nijinsky.  On 12 July 2012, I published a post on Sergei Diaghilev‘s Ballets Russes, an immensely successful corps de ballet or ballet company, founded in 1909,  whose artistic director was Léon Bakst.

Among its stars, Vaslav Nijinsky was probably the finest.  Nijinsky had acquired skills few male ballet dancers had attained, such as dancing en pointe, on his toes.  However, Nijinsky’s career was very short.  It was interrupted by a mental illness, schizophrenia,  that manifested itself when he was at the height of his career, in 1916, approximately.  He died in London, in 1950.

Vaslav Nijinsky was born Wacław Niżyński, in 1889 or 1890 in Kiev, the Ukraine.  His parents were Polish and he was baptised in Warsaw.  In fact, he considered himself a Pole.  Yet, he was born and grew up in Imperial Russia (before the 1917 revolution) and therefore spoke Russian more fluently than Polish.  But the soul has its laws.  He was a Pole.

Nijinsky was trained at the Imperial Ballet School, where his teachers were Enrico Cecchetti, Nikolai Legat and Pavel Gerdt.  At the age of fourteen, he was selected by famed French choreographer’s Marius Petipa to dance the principal role in La Romance d’un Bouton de rose et d’un Papillon (music by Ricardo Drigo, June 30, 1846 – October 1, 1930.  The Russo–Japanese War made it impossible for the ballet to be performed.  However, during this period, Nijinsky played several solo roles and, in 1910, prima ballerina assoluta Mathilde Kschessinka selected him to dance in a revival of French choreographer Marius Petipa‘s Le Talisman, which brought Nijinsky to the fore.  He created a sensation in the role of the Wind God Vayou.

It is at this stage that Nikinsky met Sergei Diaghilev, an impressario who brought Russian art and ballet to the attention of little less than the whole world.  Diaghilev and Nijinsky had an affair, yet Nijinsky married Hungarian countess Romola de Pulszky  when the Ballets Russes were touring in Latin America.  On his return from Latin America, Diaghilev flew into a rage and fired Nijinsky.

Scandal in Paris

Nijinsky may well have been the most celebrated ballet dancer of his time, but after being dismissed by Diaghilev and working as choreographer and ballet dancer, he scandalized the normally broad-minded le tout Paris.  He did so by showing his character miming masturbation with the scarf of a nymph.  Explicit sexuality was a little much even for a Paris audience. Nijinsky had danced to Claude Debussy‘s Prélude à l’après-midi d’un faune.  Nijinsky also enjoyed wearing revealing costumes, which was and remains acceptable.

Music and Ballet 

Nijinsky and other choreographers danced to music and, in the case of Debussy, contemporary music.  Nijinsky also danced to the music of Igor Stravinsky (17 June 1882 – 6 April 1971).  In fact, impresario Sergei Diaghilev commissioned three works of music for his Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913).  Stravinsky’s Rite of Spring changed music forever and so did, in ballet, Nijinsky’s use of angular movements.  He was a modernist, a visionary.

But, to return to music, it should be noted that much of Russian music is music for ballets (or opera).  Pyotr Illich Tchaikovsky (7 May 1840 – 6 November 1893) wrote music for several ballets (The Nutcracker, Swan Lake), and so did Sergei Prokofiev, whose Romeo and Juliet is an almost unsurpassed composition for ballet.  Diaghilev also commissioned the Prodigal Son from Prokofiev, but died before he could make it into a ballet.  It was choreographed by George Balanchine.  Serge Lifar created the role and the ballet premièred on Tuesday, 21 May 1929, at the Théâtre Sarah Bernhardt, in Paris.

Back to Nijinsky: A tribute

As for Nijinsky, he was treated, unsuccessfully, by psychiatrist Eugen Bleuler.  He spent the rest of his life in and out of hospitals and asylums and, as mentioned above, died in London, in 1950.  His body was later moved to a Paris cemetery, in Montmartre.  He had one daughter, Kyra, who married Ukrainian conductor Igor Markevitch.  They had a son but the marriage did not last.  Nijinsky’s continued fame, despite an abruptly and tragically shortened career, constitutes an eloquent tribute as to his exceptional talent.

George Barbier

George Barbier (1882 – 1932), an immensely talented and prolific  illustrator, produced extraordinary pictures of Nijinsky.  These prompted me to write this post.  Barbier also illustrated books and worked as a fashion illustrator, which can be discussed in a later post.  The Tamara shown in the video is Tamara Karsavina (10 March 1885 – 26 May 1978).

RELATED ARTICLES

  • Les Ballets Russes & the News (12 July 2012)
  • Un peu, beaucoup, passionnément  (19 July 2012) 

Art featured in this post is by George Barbier (Photo credit: Google images).

 
  
 
© Micheline Walker
26 July 2012
WordPress

 

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