For France, it was the beginning of the Deluge. After the Seven Years’ War, it was on the brink of bankruptcy, which, as we have seen, led to the meeting of the Estates General. It opened on 5 May 1789, but the French Revolution began two months later, on 14 July 1789, the day the Bastille was stormed.
For the people of New France, it was also the Deluge. New France (see map) was very large, but it had few inhabitants, about 70,000. These were the descendants of 26,000 colonists, but its population would grow.
The current population of Quebec is 8,455,402, 81% of whom are French-speaking. Many immigrants to Quebec are French-speaking North Africans: Blacks and Whites. Several are Algerians and, a large number, Muslims. (See The Population of Quebec, World Population Review.com.)
Madame de Pompadour
Madame de Pompadour was born Jeanne-Antoinette Poisson (29 December 1721 – 15 April 1764) and she was the royal mistress from 1745 to 1751, or from the age of 24 to the age of 30. She had to retire from her role as chief mistress because of health problems. However, she remained Louis XV’s friend and mistress of his heart. She was very influential at court. On 8 February 1756, she was named lady-in-waiting to Marie Leszczyńska, Louis XVI‘s mother.
The marquise was a patroness of the arts and a student of François Boucher. He taught her how to make engravings. She also learned to engrave semi-precious stones, such as onyx. The images shown below are by François Boucher and Pompadour, after gemstone engraver Jacques Guay. (Wiki2.org.) In 1759, our marquise bought a porcelain factory, at Sèvres. (See Madame de Pompadour, Wiki2.org.)
Génie de la Musique by Boucher, Pompadour, Guay (Wiki2.org.)
L’Amour by Boucher, Pompadour, Guay 1755 (Wiki2.org)
When Madame de Pompadour died of tuberculosis at the age of 42, Voltaire wrote:
“I am very sad at the death of Madame de Pompadour. I was indebted to her and I mourn her out of gratitude. It seems absurd that while an ancient pen-pusher, hardly able to walk, should still be alive, a beautiful woman, in the midst of a splendid career, should die at the age of forty-two.”
(See Madame de Pompadour, Wiki2.org.)
Young Country Girl Dancing by François Boucher(Photo credit: Wiki2.org.)
I reread chapters of my thesis on Molière‘s (1622 – 1673), a study of the pharmakósin six of Molière‘ comedies,and my article on L’École des femmes.[1] The article is fine. As for my thesis, its chapter on Le Misanthrope requires a few quotations and should be linked to “Le Misanthrope, ou la comédie éclatée,”[2] a paper I read at an international conference on the Age of Theatre in France. It was held at the University of Toronto, on 14-16 May 1987.
Following are a few comments on the plot of comedies and farces, on jealousy and the dénouement.
The Plot
All’s well that ends well
Le Blondin berne le barbon
Le Trompeur trompé (the deceiver deceived)
Hoist with his own petard
All’s well that ends well is a play by Shakespeare (baptised 26 April 1564 – 23 April 1616), which describes comedy in general. The French use the following formula: Le blondin berne le barbon, or The Young Man fools the Old Man. However, there are times when Molière blends the two formulas. One could say that the School for Wives‘ Arnolphe is “hoisted with his own petard” (Shakespeare’s Hamlet) or that he is le trompeur trompé (the deceiver deceived). He raises his future wife, but she marries a young man.
By keeping Agnès inside his house, Arnoldphe believes he is raising a wife who will not be unfaithful. When Arnolphe learns Agnès loves Horace, he does not speak like a lover. He speaks like an accountant. He brought her up, so she owes him. The matter of her debt is discussed. Arnolphe, the blocking character or alazṓn, senex iratus, Miles gloriosus, etc. alienates Agnès. After meeting Horace, she tells Arnolphe that the young man she loves knows how say what pleases her, which is not the case with Arnolphe, the embodiment of jealousy. The School for Wives was first performed at the Palais Royal theatre on 26 December 1662. Comedies promote marriage and pleasure.
Front page ofL’École des femmes—engraving from the 1719 edition (Wiki2.org.)
Jealousy
AGNÈS
Lui, mais à vous parler franchement entre nous, Il est plus pour cela, selon mon goût, que vous ; Chez vous le mariage est fâcheux et pénible, Et vos discours en font une image terrible : Mais las ! il le fait lui si rempli de plaisirs, Que de se marier il donne des désirs.
(Agnès à Arnolphe, 5.iv)
[You did. But, to be frank with you, he is more to my taste for a husband than you. With you, marriage is a trouble and a pain, and your descriptions give a terrible picture of it; but there−he makes it seem so full of joy that I long to marry.]
(Agnès to Arnolphe, V.5, p. 26)
ARNOLPHE
But you ought to have driven away that amorous desire.
(Arnolphe to Agnès, V.5, p. 26)
AGNÈS Le moyen de chasser ce qui fait du plaisir ?
(Agnès à Arnolphe, 5.iv)
[How can we drive away what gives us pleasure?]
(Agnès to Arnolphe, V.5, p. 26)
AGNÈS Vraiment il en sait donc là-dessus plus que vous ; Car à se faire aimer il n’a point eu de peine.
(Agnès à Arnolphe, 5.iv)
[Of a truth then he knows more about it than you; for he had no difficulty in making himself loved.]
(Agnès to Arnolphe, V.5, p. 26)
AGNÈS Que ne vous êtes-vous comme lui fait aimer ?
(Agnès à Arnolphe, 5.iv)
[Heaven! you ought not to blame me. Why did you not make yourself loved, as he has done? I did not prevent you, I fancy.
(Agnès à Arnolphe, V.5, p. 26)
ALCESTE
Le Misanthrope’s Alceste is also jealous. Yet Célimène tells him that she loves him:
Mais, moi, que vous blâmez de trop de jalousie, Qu’ai-je de plus qu’eux tous, Madame, je vous prie ?
(Alceste to Célimène, 2.iv)
[But, madam,
What have I more than all of them, I pray you?
—I, whom you blame for too much jealousy!]
(Alceste to Célimène, II.1)
Le bonheur de savoir que vous êtes aimé.
Célimène à Alceste, 2.i)
[The happiness of knowing you are loved.]
(Célimène to Alceste, II.1)
Célimène is ready to marry Alceste, but he refuses… He hates what he loves. (5, scène dernière) (V .7)
The role Philinte plays has often been described as that of the raisonneur. When I studied Molière as an undergraduate, Philinte was the raisonneur. More recent scholarship opposes the alazṓn to the eirôn (as in ironic) in a form of contest called agôn (as in protagonist, antagonist, and agony). Normally, the alazṓn is defeated, but not necessarily ousted. In The Misanthrope(1665), no one is ousted, but all characters leave the stage. I am reading Gabriel Conesa’s Le Dialogue moliéresque, seeking information on the dialogue between Philinte and Alceste (1.i), in Le Misanthrope.[3]
We have a raisonneur[4] in The Misanthrope: Philinte. When Alceste reveals that civility does not allow him to know whether what praise he hears is mere flattery the truth, a mask falls. He is vain and not a raisonneur. The dialogue between Alceste and Philinte allows us to know the real Alceste (I.i.). As for his dialogue with Célimène, (II.1) it reveals insecurity, inquiétude. As we have seen in Portraits of the Misanthrope, Philinte’s flegme (his calmness) allows him to enjoy the world, however flawed. He is the eirôn, but also, a raisonneur. Alceste, as lover, is conflicted. The agôn, the contest opposing the alazṓn and the eirôn, takes place within him. How can there be a dénouement?
The plot of this comedy is circular. I have therefore suggested that although there is a dramatis personæ, comedic functions have been fused, blurring distribution: blocking character, alazṓn, senexiratus (crazy old man) the young lovers and the eirôn (Philinte as raisonneur). This would suggest the total absence in Molière’s Misanthrope of tragedy’s catharsis. No one can be removed.
However, Molière’s Tartuffe (1664-1669), features a pharmakós (as in pharmacy). Tartuffe, the hypocrite, is led to prison by an officer: l’Exempt. (Tartuffe.pdf) He is saved by “un Prince ennemi de la fraude.” (V, Scène dernière), (“Our prince is not a friend to double-dealing[.]” Tartuffe). Yet, Tartuffe was empowered by Orgon who was empowered by Tartuffe.[6] Orgon adopts Tartuffe so he, Orgon, can be a family tyrant with impunity or sin without sinning (casuistry).[7] The dénouement is not a genuine cleansing. Therefore, Tartuffe is a pharmakós, a scapegoat.
You may know that Le Malade imaginaire was first performed on 10 February 1673. Molière suffered from tuberculosis. He collapsed on the stage on 17 February 1673, during the fourth performance of Le Malade imaginaire. He fainted when he was removed from the stage. He was hemorraging. He died a few hours later.
However, let us return to Tartuffe where “all’s well that ends well.” Mariane will marry Valère.
_________________________
(Notes 1 & 2 refer to material that should be included in a longer text.)
[1]Micheline Bourbeau-Walker, “L’Échec d’Arnolphe: lois du genre, ou faille intérieure?,”Papers on French Seventeenth Century Literature, 11, nº 20 (1984), 79-92. [2]Micheline Bourbeau-Walker, “Le Misanthrope ou la comédie éclatée,” in David Trott & Nicole Boursier, eds, L’Âge du théâtre en France/The Age of Theatre in France (Edmonton: Academic Printing and Publishing, 1988), 53-63. ISBN 0-920980-30-9 [3] Gabriel Conesa, Le Dialogue moliéresque (Paris: CEDES, 1992) (narratives) [4] Harold Knutson, “Yet another last word on Molière raisonneur,” Theatre Survey, 22, nº1 (1981), 125-140. [5]Micheline Bourbeau-Walker, “Le Misanthrope ou la comédie éclatée.” [6]Casuistry, or how to sin without sinning (michelinewalker.com)
ALCESTE, in love with Célimène
PHILINTE, friend of Alceste
ORONTE, in love with Célimène
CELIMENE
ELIANTE, Célimène’s cousin
ARSINOE, friend of Célimène
ACASTE, a marquis
CLITANDRE, a marquis
BASQUE, Célimène’s servant
AN OFFICER of the Marshals’ Court
DUBOIS, Alceste’s valet
The Scene is at Paris
Alceste vs Philinte
In act I, scene i of TheMisanthrope, Alceste, the misanthrope, claims that court is filled with people who praise a person, but find fault with the same person the moment he or she leaves. He is angry with his friend Philinte who has been courteous with a person he barely knows. Were he Philinte, he would hang himself.
ALCESTE
Go to, you ought to die for very shame!
Such conduct can have no excuse; it must
Arouse abhorrence in all men of honour.
I see you load a man with your caresses,
Profess for him the utmost tenderness,
And overcharge the zeal of your embracings
With protestations, promises, and oaths;
And when I come to ask you who he is
You hardly can remember even his name!
Your ardour cools the moment he is gone,
And you inform me you care nothing for him!
Good God! ’tis shameful, abject, infamous,
So basely to play traitor to your soul;
And if, by evil chance, I’d done as much,
I should go straight and hang myself for spite.
(Alceste to Philinte, I. 1)
(French I. i)
Philinte is an honnête homme. He would not tell an ageing Émilie, la vieille Émilie, that the manner in which she uses makeup (le blanc) and behaves (faire la jolie) does not suit an ageing woman:
PHILINTE Quoi ! vous iriez dire à la vieille Émilie Qu’à son âge il sied mal de faire la jolie, Et que le blanc qu’elle a scandalise chacun ? (I. i)
[What! would you tell old Emilie
that ’tis unbecoming at her age to play the pretty girl;
or that the paint she wears shocks every one? Le Misanthrope (I. 1)]
Ironically, Alceste is in love with Célimène who enjoys depicting the ills of others. She does so to entertain those who admire her. Célimène is a charming twenty-year-old widow seeking attention and pleasure. In seventeenth-century France, young, and not-so-young, widows were privileged. They could choose to marry or not to marry, and, if they chose to marry, they married a person whom they loved, not a spouse imposed on them by a greedy father.
Her portrait of Alceste is that of a man who is very contrary.
CÉLIMÈNE
Must not the gentleman needs contradict?
What! Would you have him think like other people,
And not exhibit, in and out of season,
The spirit of gainsaying he’s endowed with?
Others’ opinions are not fit for him,
And he must always hold the opposite,
Because he’d fear to seem like common mortals,
If he were caught agreeing with anyone. The glory of contradiction charms him so He often takes up arms against himself
And falls to combating his own beliefs
If he but hears them from another’s lips.
(Célimène to everyone, II. 5)
[L’honneurde contredire, a, pour lui, tant de charmes, Qu’il prend, contre lui-même, assez souvent, les armes ; Et ses vrais sentiments sont combattus par lui, Aussitôt qu’il les voit dans la bouche d’autrui.]
(Célimène à tous, II. iv)
Given his view of society, a world where everyone speaks ill of others, Alceste’s love for Célimène, is incongruous. Destiny has been unkind to him. However, although he is contrary, he does not criticize Célimène in the portrait scene (2.iv). He turns to her admirers and blames them.
CLITANDRE Pourquoi s’en prendre à nous ? Si ce qu’on dit, vous blesse, Il faut que le reproche, à Madame, s’adresse. (II. iv)
[But why blame us? If what is said offends you,
You must address your censures to the lady.]
(II. 5)
CLITANDRE Pour moi, je ne sais pas ; mais j’avouerai, tout haut, Que j’ai cru, jusqu’ici, Madame sans défaut.
ACASTE De grâces, et d’attraits, je vois qu’elle est pourvue ; Mais les défauts qu’elle a, ne frappent point ma vue. (II. iv)
CLITANDRE
[‘Tis not for me to say; still, I’ll declare
That hitherto I’ve found the lady faultless.]
ACASTE
I find her full of graces and attractions;
But as for faults, I haven’t seen them yet. (II. 5)
In short,
ALCESTE
Les rieurs sont pour vous, Madame, c’est tout dire ;
Et vous pouvez pousser, contre moi, la satire. (II. iv)
[You (Célimène) have the laughers, madam, on your side;
That’s saying everything. On with your satire!] (II. 5)
Éliante’s Tirade
But Alceste loves Célimène and will not criticize her. Éliante, Célimène’s cousin who is very fond of Alceste, tells everyone that persons who are in love do not find faults in the person they love. If a woman is fat, her “carriage” is “majestic.” One likes what could be considered a disadvantage in the eyes of a person who is not “in love.”
ÉLIANTE
Love is but little subject to such laws,
And lovers always like to vaunt their choice.
Their passion can find naught in her to blame,
For in the loved one, all seems lovable.
They count her faults perfections, and invent
Sweet names to call them by. The pallid maiden
Is like a pure white jasmine flower for fairness;
The frightful dark one is a rich brunette;
The lean one has a figure lithe and free; The fat one has a fine majestic carriage
The dowdy, graced with little charm, is called
A careless beauty; and the giantess
Appears a goddess to adoring eyes.
The dwarf is deemed a brief epitome
Of heaven’s miracles; the haughty maiden
Is worthy of a crown; the cheat is clever;
The silly dunce, so perfectly good-hearted;
The chatterbox, so pleasantly vivacious;
The silent girl, so modest and retiring. Thus does a lover, whom true passion fires, Love even the faults of her whom he admires.
(Éliante to everyone, II. 4)
(French II. iv)]
A first reading of Éliante’s tirade may lead to believe Éliante’s tirade excludes Alceste. In act II, scene 1, when Alceste is alone with Célimène, he finds fault with the company Célimène keeps. Alceste and Célimène are alone. Alceste’s belaviour is not courteous. (II. i)
CÉLIMÈNE
C’est pour me quereller, donc, à ce que je voi, Que vous avez voulu me ramener chez moi ?
ALCESTE
Je ne querelle point ; mais votre humeur, Madame, Ouvre, au premier venu, trop d’accès dans votre âme ; Vous avez trop d’amants, qu’on voit vous obséder, Et mon cœur, de cela, ne peut s’accommoder. (II. i)
CÉLIMÈNE
So—’twas to scold at me, apparently,
That you were kind enough to bring me home?
ALCESTE
I am not scolding. But your humour, madam,
Gives any and everyone too easy access
Into your heart. You have too many lovers
Besieging you—a thing I can’t endure.
(II. 1)
Alceste is jealous. Yet, Éliante’s tirade is about all lovers, including Alceste.
ÉLIANTE C’est ainsi, qu’un amant, dont l’ardeur est extrême, Aime, jusqu’aux défauts des personnes qu’il aime. (II. iv)
[Thus does a lover, whom true passion fires,
Love even the faults of her whom he admires.]
(Éliante to everyone, II. 5)
Alceste is as Éliante says: blinded by love. As for Alceste, he is vain, which leads him to criticize civil behaviour, because he has no way of knowing whether praise of him is genuine praise or more politeness. He is yet another vaniteuxinquiet, vain but uncertain, as Paul Bénichou[1] correctly identifies flawed humanity in Molière’s plays. Moreover, Alceste is rigid, which, according to Henri Bergson, generates laughter. (See Laughter, Wiki2.org.)
ALCESTE Quel avantage a-t-on qu’un homme vous caresse, Vous jure amitié, foi, zèle, estime, tendresse, Et vous fasse de vous, un éloge éclatant, Lorsque au premier faquin, il court en faire autant ? (Alceste I. i)
[What use is it to have a man embrace you,
Swear friendship, zeal, esteem, and faithful love,
And loudly praise you to your face, then run
And do as much for any scamp he meets?]
(Alceste I. 1)
Sur quelque préférence, une estime se fonde, Et c’est n’estimer rien, qu’estimer tout le monde. (Alceste I. i)
[Real love must rest upon some preference;
You might as well love none, as everybody.]
(Alceste I. 1)
Conclusion
Le Misanthrope is a problematic play. Célimène would marry Alceste, but she would not follow him into a desert, a refuge in seventeenth-century France. She is too young.
CÉLIMÈNE Moi, renoncer au monde, avant que de vieillir ! Et dans votre désert aller m’ensevelir !
(Célimène, V. scène dernière)
[What, I renounce the world before I’m old,
And go be buried in your solitude!]
(Celimene, V. last scene)
Yet, the curtain falls on a marriage. Éliante will marry Philinte. Both follow Alceste, so everyone leaves the stage. The curtain falls and nobody is laughing. True to Célimène’s portrait of him, Alceste has taken up arms against himself. Alceste who loves Célimène, who loves him, refuses to marry her.
Moreover, although Alceste is rigid, he shares Philinte’s views, but he will not be tolerant and calm. He will beangry (bile).
ALCESTE Je veux qu’on soit sincère, et qu’en homme d’honneur On ne lâche aucun mot qui ne parte du cœur.
(Alceste I. i)
[Be genuine; and like a man of honour
Let no word pass unless it’s from the heart.]
(Alceste I. 1)
PHILINTE Je prends, tout doucement, les hommes comme ils sont,
J’accoutume mon âme à souffrir ce qu’ils font;
Et je crois qu’à la cour, de même qu’à la ville,
Mon flegme est philosophe, autant que votre bile. (Philinte I. i)
[I quietly accept men as they are,
Make up my mind to tolerate their conduct,
And think my calmness is, for court or town,
As good philosophy as is your choler.]
(Philinte I. 1)
—ooo—
PUBLISHED
Structurally, Alceste, as a character, combines several comedic functions. He is the heavy father (the alazôn of Greek comedy) who opposes the marriage of young lovers. But he is also the innamoratiof the commedia dell’arteand Atellane farce, not to mention the young lover of Greek Old Comedy (Aristophanes). Finally, he is the eirôn, a role he shares with Philinte. He is all three stock characters of farces. However, Molière’s Misanthrope is not a farce. Or is it? TheMisanthrope is une grande comédie (five acts, alexandrine verses [12 syllables], the court). The play also contains “mirrors.” Arsinoé, the prude, is Célimène as she could be at an older age.[2]
This is incomplete, but allow me to quote our colleague David Nicholson (17 February 2019): “Molière’s plays are classics because their themes are universal; they’re at home across oceans and centuries.”
[1] Paul Bénichou, Morales du Grand Siècle (Paris : Gallimard, 1948), pp. 295-296.
[2] Micheline Bourbeau-Walker, LE MISANTHROPE, ou la comédie éclatée, in David Trott & Nicole Boursier, eds. L’Âge du Théâtre en France/The Age of Theater is France (Edmonton: Academic Printing and Publishing, 1988), pp. 53-61.
There are indications I will not live eternally, but I have an unfinished project: publishing a book on Molière.
This goal may be unrealistic. However, I will not be given another chance. It will be a short book and I may not have reviewed recent literature on the subject as thoroughly as I would like to. Yet, I wrote a PhD thesis on Molière, and a PhD thesis is a scholarly venture. Moreover, I was expected to “dust it off,” a thesis is a thesis, and publish it.
Dusting it off is what I plan to do. In other words, it will not sound too scholarly. I will quote fellow moliéristes, but will focus on my findings.
L’Avare (www.gettyimages.fr)
Problematic Plays
Tartuffe, 1664 – 1669
Dom Juan, 1665
Le Misanthrope, 1666
L’Avare, 1668
Were it not for the intervention of a second father, the young couples in L’Avare(The Miser), 1668, could not marry. They would be at the mercy of Harpagon’s greed.
Matters are worse in Tartuffe, 1664 -1669. Were it not for the intervention of the king, not only would the young lovers not marry, but Orgon’s family would be ruined. In The Misanthrope,1666, Alceste is his own worst enemy. In Dom Juan, 1665, Dom Juan is removed by a deus ex machinaand he has left Elvira, his wife.
Presentation
Chapters may resemble Molière’s “L’Avare:” Doublings, a post. This post is informative, but not too scholarly. It also illustrates my main finding. In Molière’s plays, the young lovers cannot marry without an intervention, or putting on a play (Le Bourgeois gentilhomme). In L’Avare, they are saved by a second father: doublings. Molière uses stage devices, such as a deus ex machina, to save the society of the play.
Therefore, if a blocking character is removed, he is apharmakos (a scapegoat).
L’Avare, 1668, (The Miser) is rooted in Roman playwright Plautus‘ Aulularia. Plautus died in 184 BCE. Molière’s miserly father is a Shylock(The Merchant of Venice, c. 1600, by Shakespeare). There are misers in the commedia dell’arte, and Molière knew the stock characters of the commedia dell’arte. Comedy has a tradition. Greek playwright Aristophanes is considered its father. Molière also wrote farces. These date back not only to medieval France, but to the Atellane farces, which featured stock characters, as does the commedia dell’arte.
Conclusion & remerciements
I feel very young, but time goes by so quickly. It would please me to tell more about Molière, but it has to be now. It’s my last chance and there you are, supporting me.
I wish to thank a very kind gentleman who sent me images of Colette‘s La Chatte by Raoul Dufy.
Pierre-Loïc,
Je vous remercie bien sincèrement d’avoir pensé à moi. Ces dessins de Dufy me font plaisir. Votre générosité m’a beaucoup touchée.
Colette a eu une « dernière chatte », et j’ai, pour ma part, une dernière occasion.
I have not been able to write due to various house chores. I haven’t quite finished settling down. In the past, I settled into a home in a matter of days. This time, I will have to hire professionals. How humbling!
You may remember that I lost my voice on 11 December. It has now returned, but it is different. X-rays revealed advanced emphysema. I could not believe my doctor. Two thirds of my lungs have turned into a dry sponge. I have never smoked.
I can breathe ‘normally,’ so no treatment is necessary.
However, I am losing my driver’s license: myalgic encephalomyelitis, not emphysema, although the two could be linked. I had a long career as a driver.
I bought an apartment located close to a little market. Just in case… The little market has everything I need. I have been told I qualified for a service dog, but Belaud said no.
—ooo—
My cat Belaud was delighted when I discovered a painting featuring a chartreux sitting on a lady’s lap: artistic roots. French poet Joachim du Bellay had a chartreux named Belaud. When his Belaud died, he wrote an extroardinary epitaph entitled Sur la mort de Belaud. As you know, I share my home and life with a cat named Belaud. Belaud is a pure-bred French chartreux. I named my chartreux after Joachim du Bellay‘s Belaud. Du Bellay’s Sur la mort de Belaud is a long poem I would not attempt to translate.
Belaud Portrayed & Elevated
literary roots
artistic roots
Belaud has literary roots, but the J. Paul Getty Museum has a painting featuring a dignified lady, nose up, holding her precious chartreux. Artist Jean-Baptiste Perronneau (French, 1715 – 1783) is not as prominent a figure as Joachim du Bellay, but we owe him the portrait of a chartreux, and images are immediate. Upon analysis, we may find that a picture is complex, but in the case of Perronneau’s portrait, we know we are seeing a lady, Magdaleine Pinceloup de la Grange, holding her beloved cat, a chartreux.
Because of this portrait, chartreux have acquired greater stature. A cat protrayed is a thousand cats. Moreover, Jean-Baptiste Perronneau depicted a chartreux sitting in the lap of the distinguished madame Pinceloup de la Grange. I told Belaud that a portrait of a chartreux had surfaced. “Well, mother,” said Belaud, “I knew. We cats research our ancestry.” Mme Pinceloup de la Grange’s chartreux could indeed be Belaud’s ancestor. However, my Belaud does not wear a collar because he is not a threat to birds. He would love to be hired to chase away various rats, “gros rats.” In fact, one gentleman offered him a lucrative contract: “toxicity” said the gentleman, “toxicity! It will be the Black Death all over again.” The gentleman died a few weeks later.
Given their profession, chasing rats, chartreux are large and very robust cats. Fearing the cold, they wear two coats of fur. I should also mention that they enjoy sitting with their legs extended forward and that they sometimes cross their legs, as though they were dogs, or human beings. They may be referred to as blue cats, but they are grey cats. The light, however, may make their fur appear blue and even mauve.
The chartreux and their British Blue relatives have a round face, large cheeks, a permanent smile and yellow to copper eyes. I should also tell you that Chartreux are very quiet. Legend has it that their silent owners, Carthusian monks, taught them silence. Belaud purrs, but he is otherwise absolutely silent. A long time ago, I read they were brought to France by crusaders. Were Carthusians crusaders?
Du Bellay’s epitaph on Belaud is very long, but very rich. Besides, Du Bellay is a better-known figure than monsieur Perronneau. He was a member of La Pléiade, a group of stellar poets who are the fountainhead of poetry in French. Poet Pierre de Ronsard (11 September 1524 – 27 December 1585) was a prince of poets, un prince des poètes, which is not insignificant, but he is famous for a carpe diem poem. In one of his Sonnets pour Hélène, he enjoins Hélène to love him dès aujourd’hui, as of today, life being so short. There was an Hélène whose gentleman friend had died in a war. She was not in the least interested in Ronsard, but Ronsard’s poem is unforgettable.
Vivez, si m’en croyez, n’attendez à demain :
Cueillez dès aujourd’hui les roses de la vie.
Italy was the first refuge of Greek scholars. As for painters, Christians, they fled to Russia, carrying icons. Constantinople had been a Holy See for Eastern Christianity. We know about the Great East/West Schism, 1054. The Vatican is Western Christianity’s Holy See. The Eastern Church would have several Holy Sees, called Synods.
The arrival in Italy of Greek scholars may have led scholars to look to Antiquity and learn Greek. The Renaissance, however, saw the emergence of the vernacular, the mother tongue.
Du Bellay promoted the vernacular, French in his case. He was inspired by Italian author Sperone Speroni’s Dialogo delle lingue, 1542. Speroni was a friend and supporter of Venetian-language playwright Angelo Beolco (el Ruzante). However, the greater supporter of the vernacular was Pietro Bembo (20 May 1470 – either 11 January or 18 January). Bembo championed the use of Italian by poet Petrarch (20 July 1304 – 18/19 July 1374). Predecessors were Dante Alighieri (c. 1265 – 1321), the author of the Divine Comedy, written in the vernacular, and Giovanni Boccaccio (16 June 1313 – 21 December 1375), the author of the Decameron, written in the Florentine language.
Yvonne de Gaulle in a London kitchen (Getty Images)
Chartreux are often compared to British blue cats. There is a resemblance, but the two breeds differ. The snout of British Blues does not point forward as much as the snout of chartreux. Consequently, British Blues have rounder faces and larger jowls. Belaud’s face is round, but his jowls are not as prominent as the jowls of his British cousins.
I was able to gather precious information about Chartreux and British Blues. My very bilingual Scottish friend, Francis, was hired to go between English-speaking Winston Churchill and Charles De Gaulle, who spoke French, as D-Day was planned. How did Francis survive being a go-between to such men? De Gaulle would not always agree with Churchill and he communicated with the Free French Forces, Forces françaises libres which he led beginning on 28 June 1940. L’appel du 18 juin (1940), a radio broadcast, the BBC, gave hope to the French. France had defenders: the United States and the British Empire. Churchill was at times livid, said Francis, discreetly. We have learned since that De Gaulle told the Forces françaises libres that Paul Verlaine’s Chanson d’automne would be used in the planning of D-Day. Verlaine is un prince des poètes, but Chanson d’automne was a code.
Obviously, sharing the code was dangerous, but I wonder whether Francis had a role to play in the Querelle des Chartreux et des Bleus britanniques. He would not have told me. But truth me told, a querelle des chats took place in the thick of a devastating war. The British wanted to mix the Chartreux with the British Blue and De Gaulle would not allow the national cat of France simply to vanish. Later, Yvonne, De Gaulle’s wife, gave her husband a chartreux which le général called Gris [grey]-Gris. Gris-Gris probably had an aristocratic name, but le général called him Gris-Gris. Gris-Gris followed De Gaulle from room to room.
Sidonie-Gabrielle Colette
Charles Baudelaire by Étienne Carjat
Writers Sidonie-Gabrielle Colette, and Charles Baudelaire also adopted a chartreux. Belaud’s mother was a Sidonie de… I cannot remember the rest of her name, but his father was Tennessee. The cat she called la dernière chatte (the last cat), was no doubt a chartreux.
This post is a shameful coq-à-l’âne (jumping from one subject to another). The coq-à-l’âne had a terrible reputation, but now that marginalia is all the rage, I’m saved. However, I will close proudly as Belaud is all over this post, un fil conducteur, a link, carrying weight.
The horse featured above is an artwork by one of Russia’s foremost portraitists, Ilya Repin (5 August [O.S. 24 July] 1844 – 29 September 1930). No date is given and I haven’t found a signature. We do not know when Horse was completed. Nor do we know whether Repin wanted this work to be shown.
It is lovely, but it differs from other paintings by Repin. To my knowledge, the colour indigo was not used to depict horses in 19th-century Russia. Nor were blues, greens, and turquoise, a mixture. The background, sand with a golden hue, is almost traditional. It could be used as the background to a portrait. However, in Horse, the background is primarily flat. Moreover, were it not for a larger number of gold-coloured speckles in the sand, in the lower part of the painting, Repin would not have ‘sat’ his horse. You may have noticed also that Repin’s horse does not cast a shadow and that its snout as well as its lower legs are ‘interrupted.’ We are therefore reminded of Japonism and childhood. Horse is classified as a realist work of art. It is a realist work of art in as much as we know the figure it portrays is a horse, but the horse is of a different colour.
“A Moral Social Purpose”
In 1878, Repin joined the Society of the Peredvizhniki or Itinerant’s Society, which can be traced back to the “Rebellion of the Fourteen,” when 14 young artists left the school after refusing to paint mythological paintings for their diplomas. “In 1891 he resigned from the Itinerants’ Society in protest against a new statute that restricted the rights of young artists.” (See Ilya Repin, Wiki2.org. & Ilya Repin, Wikiart.org.)
However, Repin was not a rebel. By and large, he followed in the footsteps of his teacher, Ivan Kramskoi. He may have been influenced by Ivan Bunakov, with whom Repin’s father helped him apprentice. With Bunakov, a local icon painter, “he restored old icons and painted portraits of local notables through commissions.” (See Wiki2.org.) However, although he was familiar with impressionism, and “admired some impressionist techniques, especially their depictions of light and color, he felt their work lacked moral social purpose, key factors in his own art.”
A Portrait Artist
“Repin had a set of favorite subjects, and a limited circle of people whose portraits he painted. But he had a deep sense of purpose in his aesthetics, and had the great artistic gift to sense the spirit of the age and its reflection in the lives and characters of individuals.” (See Ilya Repin, Wiki2.org.)
Repin was a portraitist, though not exclusively. Philanthropist and art lover and collector Pavel Tretyakov, a patron of Repin, expressed a need for depictions of his contemporaries. Repin’s portrait of composer Modest Mussorgsky (21 March 1839 – [16 O.S..] 28 March 1881), one of the Five, is unforgettable. It was painted shortly before the composer’s death. Mussorgsky’s family lost half of its estate in 1861, the year serfs were emancipated, which precipitated a crisis. Mussorgsky also joined a group indulging in an “intense worship of Bacchus.” (See Modest Mussorgsky, Wiki2. org.). Alcoholism destroyed him. This portrait suggests compassion on the part of Repin.
Ilya Repin‘s celebrated portrait of Mussorgsky, painted 2–5 March 1881, only a few days before the composer’s death (Wiki2.org.)
The Common People
Repin’s “paintings show his feeling of personal responsibility for the hard life of the common people and the destiny of Russia.” (See Ilya Repin, Wiki2.org.)
Repin’s Barge Haulers on the Volga may well be his most famous comment on the life of “the common people.” The barge haulers were called burlaks and attracted Repin’s attention between 1870 and 1873. They resembled convicted men condemned to row galleys.
The industrial revolution may have liberated the barge haulers, but if it did, liberation was probably achieved in the manner serfs were emancipated. Many former serfs had to pay for the land they had tilled and had fed them. Former serfs were also employed in factories where they worked 15 hours a day, which I suspect was the fate of burlaks. (See Bloody Sunday, Wiki2.org.)
In 1872, Repin married Vera Shevtsova. His marriage lasted ten years. Natalia Nordman (14 December 1863 – 30 June 1914) was “the love of Repin’s life.” (See Wikiart.org.) They lived in her house, called Penaty (the Penates), in Kuokkala, Finland. According to Wikiart.org., Repin designed and built the Penates (See Wikiart.org.). I am therefore confused. However, the common denominator is that Ilya Repin and Natalia Nordman-Severova lived at the Penates. On Wednesday, the couple received guests. Repin made sketches of their guests and Natalia Nordman was the keeper of the album. The Album is entitled Portrait from the Album of Natalia Nordman-Severova.
Repin chronicled a golden age: Alexander Pushkin, Fyodor Dostoyevsky, Leo Tolstoy, the Five, Ilya Repin, Isaac Levitan, Alexei Savrasov. Yet it was a bleak world. Russia was at a turning-point. Peasants had lived in communes, the Mir, but the industrial age would impair the Emancipation of Serfdom, 1861. As noted, several former serfs worked in factories, where working conditions were unacceptable. Building a railroad could be the source of enormous wealth for Russians who had money to invest, but did former serfs have money?
So Horse makes sense. It is fanciful, but not too fanciful. In fact, it is little more than, as noted above, a horse of a different colour. However, horses of a different colour may constitute not a new, but a gentler reality.
