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.
The late Kenojuak Ashevak , considered one of the pioneers of Inuit art, saw her first-ever print, Rabbit Eating Seaweed, included in the 1959 Cape Dorset collection. The early work points to the distinctive style for which the famed artist would become renown. (Historymuseum.ca) (Photo credit: CBC.ca)
I apologize for not posting for a long time. There has been a change in my life, but it is not a serious change.
Here is my story. A few weeks ago, I told my doctor that my memory was playing tricks on me. Test confirmed mild cognitive impairment. I will lose my driver’s license and my precious little red Toyota.
Do not be alarmed. I was not diagnosed until the early 1990s, but I have suffered from Chronic Fatigue Syndrome/ME since 1976. Victims get lost in mid-sentence and don’t remember words and names. I continued working and had a successful but shorter career than I would have liked. The only difference between the old and the new diagnostic is age. I am now older. But it could simply be that moving tired me out and that taking a mortgage, at my age, was stressful. Life is not always easy.
In short, I could not work on posts for several days because I was making various arrangements that would allow me to stay home for many long years, despite mild cognitive deficiency. Ironically, destiny led me to purchase a lovely apartment in the appropriate building. It has elevators, a heated interior swimming pool, and, as I have told you in an earlier post, it is located very near a small market place that includes a post office and most of the facilities I require.
My next post is on Métis leader Gabriel Dumont and the North-West Rebellion. Métis and Amerindians were losing their land, so surveyors can cut it up into little squares while a railroad was being built that woul take citizens from sea to sea: A Mari usque ad Mare, the Canadian motto.
As a leader, Gabriel Dumont was second only to Louis Riel. They resisted losses brought by Canadian expansion westward. The video inserted below is a fine account of events that took Canada from sea to sea, but a post is necessary.
Gabriel Dumont(Photo credit: The Canadian Encyclopedia)
Expedition Doubling Cape Barrow by Sir George Back, 25 July 1821, (Photo credit: Wikipedia)
More on the voyageur’s personality
The explorers left testimonials about the voyageur’s personality. According to Sir John Franklin, they were “creatures of the moment.” Sir George Simpson writes that they loved to eat and that, if a piece of equipment was good, they said that it came from France or “la vieille France deLondres,” London’s old France, and were “witty.” [i]
Sir George Back (Photo credit: Wikipedia)
As for the explorers, they knew the name of every single one of their voyageurs. Most of these explorers came from Scotland. Obviously the Scots and the voyageurs got along very well. By the way, the gentleman who lost so many of his voyageurs was Admiral Sir George Back, FRS [Fellow of the Royal Society] (6 November 1796 – 23 June 1878). I have therefore edited my last post accordingly and, in doing so, I discovered that Sir George Back was an excellent artist.
When they were working for explorers, the voyageurs may have transported pelts. However, when employed by explorers such as Simon Fraser and Sir Alexander MacKenzie, they did not. They were simply finding their way, dangerously, to the Pacific. At that time, they also worked for travellers who were gathering information on Canada.
HMS Terror Thrown up by Ice by Sir George Back
The Singing Voyageur
The voyageurs did sing. We know for certain that they sang mostly old French songs and that their favourite song was “À la claire fontaine.” During the ten years he was in the employ of the Hudson’s Bay Company (1819-1829), Edward Ermatinger (1797-1876) collected eleven voyageur songs. They are traditional folksongs.
As for songs composed by the voyageurs, we know of three:
Le Six mai de l’année dernière (Last Year on the Sixth of May).
The Bois-Brûlés were Dakota Amerindians. As for the Sixth of May, that was the date on which the voyageurs left for “les pays d’en-haut,” the north or, literally, the countries above.
These were published in the Beaver, a Canadian journal, by Marius Barbeau, the “founder of Canadian anthropology.” There can be no doubt that these songs are authentic voyageur songs.
Moreover, Grace Lee Nute lists voyageur songs. For the most part, the songs she discusses are well-known traditional folksongs. There are two exceptions:
C’est dans la ville de Bytown [Ottawa] (It’s in the town of Ottawa)
Parmi les voyageurs (Among the Voyageurs)
Parmi les voyageurs is unquestionably a voyageur song. However, loggers also left from Ottawa. They too had to find a living and left for the winter to work as lumberjacks. As a result, C’est dans la ville de Bytown could be a forestier song or both a voyageur and forestier song. Forestiers worked in the lumber industry. They were lumberjacks or river drivers, riding the wood down riverways.
Sadly, W. F. Wentzel’s collection of voyageur songs has been lost. W. F. Wentzel, a Norwegian trader of the far North West, was also a fine musician. He therefore transcribed voyageur songs that could have been an extremely valuable source to later generations of collectors and ethnologists.
Let us read Grace Lee Nute:
“It is a great pity nevertheless, that Wentzel’s large collection of these songs has not survived. His musical gifts added to his unusual command of languages would surely have made the collection invaluable. Moreover, he collected the songs of the voyageurs, and “mentions the indecorous quality of some of their [the voyageurs’] songs.” [ii]
Also lost are the songs of Pierre Falcon, except Les Bois Brûlés, an account of the Battle of Seven Oaks. Falcon wrote canoe songs that have probably been destroyed due to their ‘smutty’ character. Métis called themselves Bois Brûlés. They were not as dark as Amerindians.
Fortunately, we still have the eleven songs that Edward Ermatingercollected.
____________________
[i] Quoted by Nute in The Voyageur (St. Paul, Minnesota: Minnesota Historical Society Press, 1987 [1931]), pp. 244 and 255.
[ii] “Mr W. F. Wentzel, Letters to the Hon. Roderic McKenzie, 1807-1824,” in Masson, Les Bourgeois, 1:71. Quoted in Nute’s The Voyageur, p. 155.
I am including, below, Blanche comme la neige, a folksong. Sir Ernest MacMillan composed a choral setting of this song. I do not have Sir Ernest’s setting, but we have the song. Blanche comme la neige is featured as a Christmas song, but it could be a song about winter and purity. It tells the story of a young woman who feigned death not to be raped. She is placed in a coffin and discovered, three days later, by her father. She tells him she has preserved her virginity: “pour mon honneur garder,” (to keep my honour).
One of the McGarrigle sisters died in 2010. It saddens me to know that they are now forever separated. Besides, it is difficult to find good renditions of folksongs. I do not know the origin of Ce matin.
Shooting the Rapids by Frances Ann Hopkins, 1879 (Photo credit: Wikipedia)
The Voyageurs
The voyageurswere the French-speaking Canadian boatmen or canoemen, who travelled in birch-bark canoes from Ottawa or Lachine, to fur-trading posts in what is now Manitoba and Minnesota, Grand-Portage being the main trading post.
First, they had to short-legged. Being short-legged was important because they had to transport as much fur as possible relatively small canoes and much of the fur was stored under each canoeman’s seat in the canoe. There was very little room for their legs.
Second, a strong upper body was an essential characteristic. They sometimes had to go from one waterway to another waterway and when they did, they carried fur (usually beaver pelts) and personal supplies on their back, bundles called bales, they carried on their backs, weighed more than 40 kilos (about 90 pounds), perhaps a conservative figure. And they also had to carry their canoe. These parts of their trips were called a portage (from the French porter: to carry).
Third, they had to be good singers.
The Singing Voyageurs
Travellers to North-America, fur traders, employees and governors of fur-trading companies, such as the Hudson’s Bay Company, historians, and others often reported that the Canadien voyageur, sang as he paddled canoes filled with precious pelts.
Les Trois Cavaliers fort bien montés (The Three Well-Mounted Horsemen), a folksong, inspired Irish poet Thomas Moore to give it new words in 1804. It became the famousCanadian Boat Song.
In Kitchi-Gami[i], J. G. Kohl writes that “They [the voyageurs] were chosen men! The best singers in the world:”
C’était des hommes choisis ! Les plus beaux chanteurs du monde!
Le Portage
Portages were so difficult that the men often chose to “shoot the rapids.” At such times, I doubt that they sang. “Shooting the rapids” was dangerous and many men died. Alongside the rivers the voyageurs used to go from Lachine (Montreal), or Ottawa, the usual points of departure, to what is now Manitoba and Minnesota, there are little white crosses. The voyageurs left small white crosses where boatmen had die.
We have to distinguish between the voyageurs who had a licence to work in the fur trade and those who roamed the forests without the proper permit, called coureurs de/des bois. As for the voyageur, he was a hired man: an engagé. But thecoureurs des bois were adventurers. They roamed the woods without a permit and if they got caught fur-trading, they faced sanctions and the beaver pelts they had not sold were confiscated.
These men usually signed a three-year contract which meant that they often left behind, a wife and children to whom the earnings of the voyageur were usually sent. However, many men lived with Amerindian women or married Amerindian women. Their children were Métis.
However, some voyageur wanted to marry a French-Canadian woman and simply waited. Canada’s Louis Riel‘s grandfather, Jean-Baptiste Lagimodière, went to Quebec to marry Marie-Anne Gaboury, the first white woman to settle in Western Canada. Their daughter Julie married a Métis named Louis Riel and they had a son they named Louis Riel. SeveralMétisremained in Manitoba, but the Battle of Batoche took place in Saskatchewewan. Many retired in Minnesota, USA. Those who did had usually been employed by the American Fur Trade company, founded by John Jacob Astor in 1808.
—ooo—
I will continue to tell the story of the voyageurs, but let this be the background. We have actually gone a long way. For the time being, I will continue to reflect on the fact that these men sang despite the dangers they faced and their isolation from their home.
[i] G. Kohl, Kitchi-Gami. Wanderings Round Lake Superior (London: Chapman and Hall, 1860). Available in paperback, with an introduction by Robert E. Bieder, under the title Life Among the Lake Superior Ojibway(St. Paul: Minnesota Historical Society Press, 1985 [1860]).
This has been a difficult year. I celebrated Valentine’s Day discreetly and failed to write a post on the subject of love. However, if one clicks on Posts on Love Celebrated, a page, not a post, one will find discussion on this subject.
At any rate, I am wishing you, belatedly, a Happy Valentine’s Day.
In Gilles Durant’s poem, the first song, a lover invites his Lady to enjoy the pleasures of love, as life is much too brief. Carpe diem.
