This may seem to contradict an earlier post on Intellectual Property, but it doesn’t.
One copies, but one names one’s source. My post on Coronavirus can be shared.
Would that we could listen time and again to Smetana’s “Moldau.” Played on the harp by a lovely young woman, it is heavenly. But the spectrum of heavenly music is rather wide.
One of his recruits was Pierre-Charles L’Enfant (9 August 1754 – 14 June 1825), an architect and engineer who designed the Washington National Mall. L’Enfant was dismissed and replaced by Andrew Ellicott (24 January 1754 – 28 August 1820) who criticized L’Enfant Plan and Pierre-Charles L’Enfant. In 1902, the McMillan Commission did away with Andrew Ellicott’s revisions. The Washington Mall was redesigned using L’Enfant Plan.
The Figaro Trilogy
The Barber of Seville (1773; 1775)
The Marriage of Figaro (written in 1778, performed in 1784, published in 1785)
The Guilty Mother (1791; 1966[opera])
The Marriage of Figaro as the center-piece of Beaumarchais’ “Figaro trilogy”
Mozart’s Marriage of Figaro (K. 492, 1786)
Le Mariage de Figaro, 1784
Le nozze di Figaro, Mozart, 1786
The Marriage of Figaro (1784)
At an early point in his life, Beaumarchais did recruit men willing to join the Americans in their struggle for independence, but he is known mainly as the author of the Figaro trilogy, which consists of three plays: The Barber of Seville (1775), The Marriage of Figaro (1784), and The Guilty Mother (1791).
A problematical comedy
the second installment in the Figaro trilogy
Accepted for production in 1778 (Comédie-Française)
Vilification of French aristocracy: condemned by Louis XVI
Revised: change of location
Performed in France in 1784
Published in France in 1785
The Marriage of Figaro is the second installment in Beaumarchais’ Figaro trilogy, but constitutes the centerpiece of Beaumarchais’ trilogy. It was written in 1778 and accepted for production by the Comédie-Française in 1781. However, as first written, it vilified French aristocracy and so shocked Louis XVI that he banned the production of the play.
The play was problematical because Count Almaviva, who marries Rosina in The Barber of Seville, or the Futile Precaution (1778), wants to consummate Figaro’s marriage to Susanna, Figaro’s bride. Beaumarchais revised the play and moved the action to Spain. Ironically, Count Almaviva wanted to avail himself of a right he had abolished: “the feudal droit du seigneur, the right of the lord of the manor to sleep with his servant’s bride on her wedding night.”[I]
The Marriage of Figaro is a comedy inspired by the commedia dell’arte. Given the conventions of comedy, the Count’s plans will therefore be foiled. The innmorati will be helped not only by clever zanni and other servants, but also by Rosina, Almaviva’s wife, whose marriage to the Count, a philanderer, did not end altogether “well.”The play also features a redeemingdiscovery. The Count wants Figaro to marry Marcellina, Bartolo’s housekeeper, but it turns out that Figaro is the love child of Marcellina and Bartolo. One does not marry one’s mother. Bartolo therefore proposes marriage to Marcellina. There will be two weddings, which is not uncommon in comedy.
Zanni
The Marriage of Figaro’s Cherubino,[II] a character reminiscent of Cupid, the mythological god of desire, could be called a zanni. He is forever in love and gets into trouble. However, he also provides comic relief as do zanni in the commedia dell’arte. Zanni are stand-up comics.In Passion Plays, comic interludes were inserted between the acts. The same stratagem can also be used inside comedy. Some “comic” is always at the ready not only to “fill in,” but also to support zanni (servants, one of whom is clever, but the second, clumsy).
As part of the props, we have incriminating letters and, in the case of the Barber of Seville, the Count, disguised as Lindoro, a name borrowed from the commedia dell’arte, we have musicians serenading Rosina. Guitars are inextricably linked with the commedia dell’arte. They are a prop that Watteau and Picasso, Picasso especially, depicted abundantly.
Moreover, to fool the Count, the Countess dresses as Susanna, Figaro’s bride-to-be, while Susanna dresses as the Countess. Therefore, when the Count court Susanna, he is in fact courting his wife. He reveals his plans to seduce Susanna, but find Rosina attractive. It is quite normal in comedies for the Alazṓn , the Count, to undo himself, except that comedy is kind. Cross-dressing is also a frequent device in the comic text and it is rooted in the topsy-turvy world of the Roman Saturnalia, not to mention the last days of l’ancien régime.
Beaumarchais and the Revolution
After Beaumarchais relocated The Marriage of Figaro, “[t]he feudal droit du seigneur” became a distant right and wrong. Louis XVI lifted the ban on the production of The Marriage of Figaro and the play was performed by the Comédiens français ordinaires du Roi, on Tuesday, 27 April 1784, and the text was published in 1785. Yet the play remained problematical. Although The Marriage of Figaro is a Shakespearean “all’s well that ends well,” the conventional ending, or dénouement, of comedies, in the Marriage of Figaro, this ending seems a little theatrical.
Beaumarchais or Pierre de Beaumarchais’ Marriage of Figaro was made famous by Mozart‘s (27 January 1756 – 5 December 1791) Nozze di Figaro, a four-act opera buffa, or comic opera composed in 1785 on a libretto (the text) by Lorenzo da Ponte (10 March 1749 – 17 August 1838). Mozart’s Marriage of Figaro (Le nozze di Figaro) premiered in Vienna at the Burgtheater,on 1 May 1786. It has remained a favourite opera often associated with Mozart only, not Pierre de Beaumarchais.
The Barber of Seville, or The Useless Precaution(Photo credit: Wikipedia)
The Barber of Seville(1775)
The Barber of Seville; or, the Useless Precaution[III] was performed and published in 1775 as Le Barbier de Séville; ou, la précaution inutile. It isthe first play in Beaumarchais Figaro’ trilogy. The play was written in 1773, but it was not performed until 23 February 1775, when it premiered at the Comédie-Française in the Tuileries. Although I have prepared a point by point description of the plot of The Barber of Seville, I am quoting Britannica’s summary. Simply add the name Lindoro, a guitar, and a few suspicious letters. The Count first dresses as a poor student named Lindoro.
“Rosine (known as Rosina in the opera), the ward of Dr. Bartholo, is kept locked in her room by Bartholo because he plans to marry her, though she despises him. Young Count Almaviva loves her from afar and uses various disguises, including one as Alonzo, a substitute music teacher, in his attempts to win her. Bartholo’s roguish barber Figaro is part of the plot against him. Indeed, it is Figaro who steals the key to Rosine’s room for Almaviva. Unfortunately, Almaviva is in his disguise as Alonzo when he meets Rosine. Though in love with “Alonzo,” Rosine is convinced by the suspicious Bartholo that Alonzo intends to steal her away and sell her to a wicked count. Disappointed, she agrees to wed Bartholo that very night. All of Figaro’s ingenuity is required to substitute Count Almaviva for Bartholo at the wedding ceremony.”[IV]
Portrait of Gioachino Rossini in 1820, International Museum and Library of Music, Bologna (Photo credit: Wikipedia)
The Guilty Mother, subtitled The other Tartuffe(La Mère coupable ou l’autre Tartuffe), a play in five acts,is the final part of the Figaro trilogy. Tartuffe is a play by Molière. The character Tartuffe feigns devotion. The Guilty Mother was completed in 1791, but not performed until 1792 at the Théâtre du Marais. The French Revolution had gained impetus, which made it necessary for Beaumarchais to take away his title from Count Almaviva. The Guilty Motherwill be discussed in a later post.
Figaro is heir to the commedia dell’arte‘s Brighella, a zanni. He joins Pedrolino-Pierrot, Harlequin, Scapino, and other zanni. In fact, Figaro himself joins the rank of the zanni. As portrayed above, he looks like Harlequin, but he may disguised as Harlequin. Figaro is an iconic figure in France. To be precise, Figaro is an institution: a newspaper, founded in 1826 and published in Paris. Le Figaro is the second-largest paper in France. It takes its motto from Beaumarchais’ Figaro trilogy:
“Sans la liberté de blâmer, il n’est point d’éloge flatteur.”
(“Without the freedom to criticise, there is no true praise.”)
The Commedia dell’arte
Bartolo is a dottore
Lindoro is one of the names innamorati used in the commedia dell’arte
Figaro is a Brighella,azanniin the commedia dell’arte, who helps the innamorati overcome obstacles to their marriage)
The guitar is an essential prop
Letters are used all the time: false, anonymous, incriminating…
Sources and Resources
Le Mariage de Figaro is a Gutenberg Project [EBook #20577] FR
Male innamoratiare called: Arsenio, Aurielo, Cinthio, Fabrizio, Flavio, Fedelindo, Florindo, Leandro, Lelio, Lindoro, Mario, Ortensio, Ottavio, Sireno, often the son of Pantalone, Silvio, Tristano
Femaleinnamoratiare called: Angelica, Aurelia, Beatrice, Bianchetta, Celia, Clarice, Clori, Cinzio, Emilia, Eularia, Flaminia, Florinda, Filesia, Filli, often the daughter of Pantalone, Isabella, Lavinia, Lidia, Orazio, Ortensia, Silvia, Turchetta, Vittoria
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.)
Lady with an Ermine by Leonardo da Vinci, 1489–90, National Museum, Kraków, Poland (Photo credit: Wikipedia)
I have been working on the French Revolution, but slowly. I have a brother who was diagnosed with cancer, a few months ago and underwent treatment, a horrible experience. He collapsed about ten days ago and he has since been in intensive care. The cancer has metastasized.
He is twice my size and very strong, so none of this seems possible. The poor fellow.
My first memory of him is the two of us playing in the train that took us down to Athol, Massachusetts. My father had not seen his father in twenty years, so we went to meet him. After this initial visit, we were travelling back and forth between Quebec and the farm in Massachusetts.
My grandfather was different. He had seven cats, two of whom were blind, but Freddy the Great, the largest cat, took care of the whole group. Nanny, his wife I believe, and my mother just loved one another. They went shopping together.
It was a strange situation. My grandfather bought the farm from Nanny, but he asked where she would live. She didn’t know. So he invited her to stay in her house and keep her furniture and belongings. He was alone and he didn’t have anything, but he was a gardener, hence the farm.
My brother loved his grandfather. We will talk about him often.
La Liberté guidant le peuple (Liberty Leading the People) by Eugène Delacroix, 1830 (Photo credit: Wikipedia)
On 14 July, I wanted to publish a post on Eugène Delacroix (26 April 1798 – 13 August 1863), one of two illegitimate sons fathered by Charles Maurice de Talleyrand Périgord (2 February 1754 – 17 May 1838) (2 February 1754 – 17 May 1838), but life took me to a second parking lot narrative. I am learning over and over again that planet Earth is not “the best of all possible worlds” (Voltaire’s Candide).
But let us first take a brief look at events, art, and life in 19th-century France.
The Duc de Morny and Eugène Delacroix: Half-Brothers
We have already met le duc de Morny (15–16 September 1811, Switzerland – 10 March 1865, Paris). He transformed the talented and beautiful Marie Duplessis (15 January 1824 – 3 February 1847) into Paris’ most prominent salonnière and courtesan. At that time in history, many marriages were arranged. In the aristocracy, lineage was a priority. Consequently, men took a mistress. The duc de Morny was born to Hortense de Beauharnais (10 April 1783 – 5 October 1837) and Charles Maurice de Talleyrand-Périgord’s grandson. But Hortense, whose mother, Joséphine de Beauharnais, married Napoleon I, married Napoleon’s brother, Louis Bonaparte, king of Holland.
David, Delacroix, Ingres: Romanticism and Neoclassicism
Part of Delacroix’s story was told in a post entitled Eugène Delacroix’s “Mandarin Drake” (5 June 2014). Delacroix is associated with Romanticism and therefore differs from Jacques-Louis David (30 August 1748 – 29 December 1825) who is presented to students of the fine arts for works such as his Oath of the Horatii, a painting in the neoclassical style. Yet David is also the artist who painted The Death of Marat (1793), a masterpiece one cannot easily subject to pigeonholing.
The Death of Marat (1793) by Jacques-Louis David (Photo credit: Wikipedia)
Oath of the Horatii (second version; 1786) by Jacques-Louis David (Photo credit: Wikipedia)
Between 1792 and 1871, France was a Republic, twice; a Monarchy, twice; an Empire, twice, and it suffered a Second French Revolution, which took place in 1848. The 1848 French Revolution echoed various uprisings occurring in several European countries, some rooted in decisions made at the Congress of Vienna (November 1814 to June 1815), which ended the Napoleonic Wars, others reflecting national disasters, such as the Greek War of Independence. The Greek War of Independence inspired Delacroix, and Lord Byron (2 January 1788 – 19 April 1824). Lord Byron had in fact, become a militant who died of a fever he contracted at Missolonghi.
Amants, heureux amants, voulez-vous voyager ?
Que ce soit aux rives prochaines ;
Soyez-vous l’un à l’autre un monde toujours beau,
Toujours divers, toujours nouveau ;
Tenez-vous lieu de tout, comptez pour rien le reste [.]
Ah, happy lovers, would you roam?
Pray, let it not be far from home.
To each the other ought to be
A world of beauty ever new;
In each the other ought to see
The whole of what is good and true.
These works feature a story teller (Pilpay or Bidpai). They are frame stories. The characters are animals and the stories are told by a story teller, not the author. Such a structure serves two purposes. First, it engages the reader by leading him or her to a storyteller: Pilpay. It is as though the author stepped aside spelling a cast. Second, Pilpay’s characters are animals, whose eloquence is based on silence. Animals do not speak. They may say nearly everything. This literary device is often called obliqueness.
Interestingly, Montesquieu’s Persian Letters, 1721, Les Lettres persanes, feature Usbek and Rica, Persian noblemen visiting France. Their comments are the comments of strangers. As such, they may be dismissed, freeing the author to be critical of the land he inhabits, but in a discreet manner and with impunity.
Whatever the origin of Les Deux Pigeons, the lines I have quoted have no source other than the poet’s soul. La Fontaine gives his two pigeons/doves fine advice: be everything unto one another. There’s always a person who makes all the difference and whom we must always cherish.
Sous le pont Mirabeau coule la Seine (1)
Et nos amours Faut-il qu’il m’en souvienne
La joie venait toujours après la peine
Under Mirabeau bridge flows the Seine and our love. Need Iremember ? Joy always came after the pain.
Vienne la nuit sonne l’heure Les jours s’en vont je demeure
Let night come and the hour ring. Days go away, I remain.
Les mains dans les mainsrestons face à face (2) Tandis que sous
Le pont de nos bras passe
Des éternels regards l’onde si lasse
Hand in hand, let us stay face to face. While, beneath (sous) the bridge of our arms, Tired of being stared at eternally, flow waves,so weary.
Vienne la nuit sonne l’heure
Les jours s’en vont je demeure
Let night come and the hour ring. Days go away, I remain.
L’amour s’en va comme cette eau courante (3)
L’amour s’en va
Comme la vie est lente
Et comme l’Espérance est violente
Love goes away as this water runs. Love goes away. How slow life is, and Hope, so pressing (violent).
Vienne la nuit sonne l’heure
Les jours s’en vont je demeure
Let night come and the hour ring. Days go away, I remain.
Passent les jours et passent les semaines (4) Ni temps passé Ni les amours reviennent
Sous le pont Mirabeau coule la Seine
Days pass and weeks pass. Neither the past Nor love returns Under Mirabeau bridge flows the Seine.
Vienne la nuit sonne l’heure
Les jours s’en vont je demeure
Let night come and the hour ring. Days go away, I remain.
My translation is mostly literal. The following is more poetical:
Under Mirabeau Bridge the river slips away And lovers Must I be reminded Joy came always after pain The night is a clock chiming The days go by not I We’re face to face and hand in hand While under the bridges Of embrace expire Eternal tired tidal eyes The night is a clock chiming The days go by not I Love elapses like the river Love goes by Poor life is indolent And expectation always violent The night is a clock chiming The days go by not I The days and equally the weeks elapse The past remains the past Love remains lost Under Mirabeau Bridge the river slips away The night is a clock chiming The days go by not I…
Guillaume Apollinaire (Wilhelm Albert Włodzimierz Apolinary Kostrowicki), 26 August 1880 – 9 November 1918, is a French writer, born in Rome. He is of Polish descent on his mother’s side. His father is unknown, but he may have been Francesco Costantino Camillo Flugi d’Aspermont (born 1835). Apollinaire learned French as a child, in Rome. His grandfather served in the Russian army and was killed during the Crimean War.
Apollinaire knew everyone, le Tout-Paris, including Gertrude Stein, a patron of the arts. She is pictured to his right in the painting featured at the top of this post. (See The Cubist Painters, Aesthetic Meditations, Wikipedia.) Apollinaire wrote poetry, plays, short stories, and he was an art critic. His poem, in the shape of a cat, is a collection of French expressions referring to cats, such as « La nuit tous les chats sont gris. » (At night, all cats are grey.) « Avoir d’autres chats à fouetter [to whip] » means: to have other fish to fry.
Apollinaire was in love with artist Marie Laurencin (« Marie » and, I believe, his amour in « Le pont Mirabeau »). He sustained a brain injury during World War I, and died, two year later, in 1918, of the Spanish Flu, a pandemic.
