Pietro Bembo by Raphael, c. 1504, Szépmûvesti Museum (Photo credit: Web Gallery of Art)
Portrait of Pietro Bembo
c. 1504
Oil on wood, 54 x 69 cm
Szépmûvészeti Múzeum, Budapest
RAFFAELLO Sanzio
(b. 1483, Urbino, d. 1520, Roma)http://www.wga.hu/html_m/r/raphael/1early/08bembo.html Web Gallery of Art
When I turned on my computer this morning, there were several entries on Pietro Bembo and several portraits and other images associated our Cardinal. I am glad my short post generated a search for portraits of Pietro Bembo. The internet’s search engines are very powerful and bloggers may be more useful than they seem.
The portrait of Pietro Bembo, shown above, is by Raphael (b. 1483, Urbino, d. 1520, Roma) or Raffaello Sanzio and it is housed at the Szépmûvészeti Múzeum, in Budapest. Yes, Raffaelo Sanzio was at the Court of Urbino, his birthplace and the birthplace of “l’honnête homme,” not to mention salons. Raffaello Sanzio da Urbino produced a very beautiful portrait of Baldassare Castiglioni, the author of Il Cortegiano, or the Book of the Courtier (1528).
Baldassare Castiglione by Raphael, Louvre Museum (Photo credit: Wikipedia)
Pietro Bembo is mentioned in Wikipeda’s entry on Baldassare Castiglioni. As for the “Portrait of a Man” it remains unidentified, but according to Britannica, Giovanni Bellini did produce a painting of Cardinal Pietro Bembo, named “Portrait of a YoungMan.” Bellini also painted an identified portrait of the Doge Leonardo Loredan.
His [Giovanni Bellini’s] Doge Leonardo Loredan in the National Gallery, London, has all the wise and kindly firmness of the perfect head of state, and his Portrait of a Young Man (c. 1505; thought to be a likeness of the Venetian writer and humanist Pietro Bembo) in the British royal collection portrays all the sensitivity of a poet (Britannica).
Pietro Bembo by Raphael, c. 1504, Szépmûvészti Museum (Web Gallery of Art)
Portrait of a Man by Giovanni Bellini (Web Gallery of Art)
Conclusion
At the moment, we have three identified portraits of Pietro Bembo: Titian’s, Bassano’s and Raphael’s. Bellini’s “Portrait of a Man” or “Portrait of a Young Man,” shows a young man resembling Pietro Bembo, which is inconclusive. Given that Raphael, Titian, Bassano and Giovanni Bellini made a portrait of the Cardinal, it seems, however, that he was a prominent figure during his lifetime.
The book I am writing, on Molière, includes discussions of l’honnête homme. I am also revisiting préciosité and the querelle des femmes. Women met in salons.
There came a point when Préciosité went too far. Playing shepherds and shepherdesses in a salon could not last forever. So by the time Molière, born Jean-Baptiste Poquelin, presented his Précieusesridicules, préciosité had become what Jean-Claude Tournand[i]terms “une fuite poétique,”(a poetical flight).
However, it would be unfortunate to trivialize préciosité and especially salons. For one thing, they did have a civilizing influence on members of Paris’ affluent upper middle-class and on aristocrats, many of whom made a point of becoming honnêtes hommes, in the worldly acceptation of honnêteté.
Molière‘s Précieuses ridicules were played for the first time on 18 November 1659. It is a farce and therefore resembles the Italian commedia dell’arteone-act or short improvised plays. These featured characters such as Pantalone, Dottore Gratiano, Il Capitano (mostly jealous characters), the occasional miles gloriosus (braggart-soldier), Arlecchino, Brighella, Pierrot, Pulcinella: lazzi, zanni (clever servants who help the lovers) vecchi (old and jealous characters), inamorate and inamorati (lover, lovers).
The plot of Les Précieuses ridicules shows the typical reversal of farces, that of the trompeur trompé (or deceiver deceived). Cathos and Magdelon have just moved to Paris and dream of becoming part of the beau monde (the elegant world, that of salons). However, Gorgibus, Cathos’s father and Magdelon’s uncle has different ideas concerning the fate of his daughter and his niece. He wants them to marry sensible and well-to-do young men, in which case “all [would be] well that ends well,” the final outcome of comedies.
Two perfectly suitable young men, Du Croisy and La Grange, come a-courting but they are immediately rejected by Cathos and Madgelon. They are not précieux and call a chair a chair rather than a commodité de la conversation (what is useful to conversation). In their attempt to give the French language a purer taste, the précieuses had indeed renamed many objects.
So the young men are shown the door, which infuriates Gorgibus. He pays a visit on his daughter and his niece as they are “greasing-up” their faces (se graisser le museau [muzzle]). They tell Gorgibus that courting should be as in the country of Tendre, the map of courting featured in Mademoiselle de Scudéry’s Clélie. They name the villages of Tendre: Billets-Doux (love letters), Petits-Soins (tender loving care), Jolis-Vers (pretty or lovely poems). Moreover, they complain because the young men did not wear feathered hats and designer clothes: “de la bonne faiseuse” (from the right maker). They then announce that they are changing their names. Cathos, Gorgibus’s daughter, wants to be called Polixène and her cousin Magdelon, Aminthe.
So the stage is set for a reversal: the deceiver deceived. The young men both decide that they will each clothe their laquais, or men servant, into garments worn in salons and send them to court our would-be salonnières.
Cathos and Magdelon are so blinded by their own wishes, that Mascarille’s entrance in a chair carried by porteurs is not viewed as inappropriate and ridiculous. Mascarille (played by Molière) is a marquis. He recites an inferior poem, an impromptu, he has written, pausing frequently to comment on the ingenuous manner in which he has worded his poem.
As for the other laquais, Jodelet (played by Jodelet FR), he plays the part of a vicomte and arrives later in the play (Scene XI). Jodelet is a famous but older French actor playing himself, a valet. His face is white because he covers it with flour. The marquis and the vicomte start boasting about their life in various salons and about their abilities as poets and dancers.
The spectators are in stitches, but Cathos and Magdelon so wish to be précieuses that they admire the disguised laquais. A few unacceptable words and references are used, but Cathos and Madgelon do not know the difference. They are totally deceived.
The fantasy comes to an end during a danse. Violinists had been hired, etc. Du Croisy and La Grange come back and undress their valets so they can be seen for what they are. Earlier (Scene IV) Cathos had remarked that the thought of sleeping next to a naked man was repulsive.
Gorgibus returns and the violinists demand to be paid for their services. Gorgibus starts beating them up in the harmless fashion of comedy. So the farce has been played out to its bitter end, bitter for the would-be précieuses and salonnières, and bitter for Gorgibus.
This article was posted in 2011.To my knowledge, it is new to most if not all of you.
With kind regards to all of you. ♥
[i] Jean-Claude Tournand, Introduction à la vie littéraire du XVIIe siècle (Paris : Armand Colin, 1984 [1970]), pp. 47-75.
Les Précieuses ridicules de Molière
avec : M-M Lozac’h à la mise en scène et dans le rôle de magdelon Marie Moriette dans cathos – François Floris dans Mascarille
M-M Losac’h: Magdelon & producer
Marie Moriette: Cathos
François Floris: Mascarille
Molière’sDom Juan does not seem a comedy. It lacks a young couple trying to marry despite a heavy father’s objections. However, it borrows elements from the Italian commedia dell’arte. Molière’s Dom Juan has in fact been labelled a dramma giocoso, a playful or comic drama, blending tragic and comical elements, which violates the rules of 17th-century French drama.
For instance, Sganarelle is a descendant of Brighella, a zanni in the Italian commedia dell’arte. He and Dom Juan are nearly always together, which makes for an incongruous relationship: Dom Juan is the master and Sganarelle, the valet. Molière’s play is aSaturnalia.
The Characters and other Elements
Our main characters are Dom Juan and his valet,Sganarelle(Mozart’s Leporello), played by Molière when the play premièred on 15 February 1665.
Dom Juan is Done Elvire’s husband. She has left a convent to marry him, but he no longer wishes to be her husband. He wants to be “free.” Done Elvire’s brothers, Dom Carlos and Dom Alonse, must avenge Done Elvire: (point d’honneur, point of honour), but fail to do so. When Dom Carlos speaks to Done Juan (V. iii), the latter has become a faux dévot, a man who feigns devotion to serve earthly needs. It appears Molière is meditating his Tartuffe (1664).
The play also features two peasant girls, Charlotte and Mathurine, whom Dom Juan tries to “seduce.” He’s told Charlotte that he will marry her, but her fiancé, Pierrot, puts up a fight. Dom Juan has also told Mathurine that he will marry her. However, there is no successful seduction in Molière’s play, not even a kiss, except on Charlotte’s hand, that she describes as black. This scene is the “La ci darem la mano,” of Mozart’s Don Giovanni (see video below).
Molière’s play on Don Juán is singularly devoid of eroticism. His Dom Juan is compiling conquests, as does Leporello in Mozart’s Don Giovanni. However, the catalogo Dom Juan keeps is a metaphorical rather than literal catalogo. Yet, at the beginning of the play (I. i) Sganarelle tells Gusman, Done Elvire’s escort and servant, that Dom Juan is the very devil. He is a grand seigneur [lord] méchant homme, an aristocrat, but an evil man.
In fact, other than the above-mentioned events the plot of Molière’s Dom Juan consists in a series of fruitless attempts to save Dom Juan from eternal damnation. The individuals begging Dom Juan to convert are Sganarelle (1), Dom Juan’s valet, Done Elvire (2), Dom Juan’s abandoned wife, and Dom Louis (3), Dom Juan’s father.
When Sganarelle warns his master, whom he calls a pèlerin, a pilgrim, that he may be punished, he is silenced immediately, not by an angry, but verbose or quiet Dom Juan. Sganarelle falls short of words and when his master will not speak, he collapses (III. i).
Noblesse oblige
Similarly, when Dom Louis, Dom Juan’s father, bemoans the fact that aristocracy is no longer as it was, Dom Juan listens, but does not hear. When Dom Louis is finished, Dom Juan simply invites him to sit down so he can speak more comfortably (IV. iv). In 1665, the noblesse oblige of earlier years has been replaced by self-interest.
Later (IV. vi), Done Elvire implores Dom Juan to mend his ways as God is about to strike. He lets her speak, but as she is leaving, he invites her to stay overnight. It is late. Done Elvire leaves. It is as though she had not spoken a word.
Dom Juan as faux dévot
At the beginning of act V, Dom Louis returns and praises his son who now feigns devotion. Dom Louis does not notice that Dom Juan is putting on an act. Moreover, it is as a faux dévot that Dom Juan dismisses Dom Carlos. He will not live with Done Elvire as man and wife, because it is God’s will (V. iii).
Retribution
However, Dom Juan has killed a Commandeur. There is a statue of the Commandeur with whom Dom Juan is to have dinner. At the appointed hour, the statue of the Commandeur takes him by the hand which causes the earth to move and engulf Dom Juan.
Conclusion
The above is an incomplete introduction to Molière’s Dom Juan, not to say ledonjuanisme. I have left out the encounter with Francisque, a poor man, and uneven fight, &c. But this is a beginning.
Don Juan, trans. by Brett B. Dodemer, Digital Commons (pdf)
Don Juan, ou le Festin de pierre is Gutenberg’s [Ebook #5130] FR
Tartuffe; or, the Hypocrite is Gutenberg’s [Ebook #2027]
Baryton Dmitri Hvorostovsky has been diagnosed with a malignant brain tumour. He’s being treated in the best facilities, in London, England, but these are shattering news. He has a very rich voice. I hope he soon recovers.
Dmitri Hvorostovsky died on 22 November 2017. May he rest in peace.
Chaucer’s name is derived from the French le chausseur (the shoemaker), which suggests French ancestry. Moreover, Chaucer knew French. This would explain his ability to translate literary works written in French as well as his being assigned diplomatic missions that required a knowledge of French. For instance, as a courtier, he was asked to make an attempt to end the Hundred Years’ War. Chaucer was a man of many talents.
The Hundred Years’ War
In 1359, during the Hundred Years’ War, Chaucer travelled to France with Lionel of Antwerp, 1st Duke of Clarence[.] In 1360, he was captured during the siege of Reims. Edward III paid £16 to ransom him, a large sum of money that did not cover in full the amount demanded by France. Ransoms helped finance wars, hence the idiomatic ‘king’s ransom.’
The Romaunt of the Rose & Courtly Love
In all likelihood, it would at that time that Chaucer took to England the above-mentioned Roman de la Rose, which epitomizes courtly love. The number of the 22,000-line Roman de la Rose Chaucer translated seems of lesser importance than the role he played in introducing the conventions of courtly love to an English public. Chaucer’s the Legend of Good Women and Troilus and Criseyde reflect his familiarity with courtly love.
Valentine’s Day
In 1340, when Charles, Duke of Orleans was released, after 25 years of captivity in England, he took to the court of France much of the legend of Valentine’s Day, which may or may not have included the myth about birds mating on 14 February, Valentine’s Day. In 1340, Chaucer had yet to write his 700-line Parlement of Foules(1343 – 1400) in which he speaks of birds mating of 14 February. Nor had Chaucer come into contact with Petrarch (20 July 1304 – 19 July 1374), and Boccaccio (1313 – 21 December 1375) authors whose works can be associated with Chaucer’s.
In all likelihood, the most important work our ransomed Chaucer took to England is the above-mentioned allegorical Roman de la Rose, which epitomizes courtly love. As noted, Chaucer translated at least part of the Roman de la Rose into The Romaunt of the Rose. However, the number of verses he translated seems less important than his introducing the conventions of courtly love to an English and probably courtly public. Chaucer’s Legend of Good Women and Troilus and Criseyde reflect his familiarity with courtly love.
Reynard the Fox
Chaucer also used ‘Reynard material’ in The Nun’s Priest’sTale. He wrote a “Chanticleer and the Fox.” The Roman de la Rose and the Roman de Renart (Reynard the Fox) are the French Middle Ages’ foremost literary achievements.
Chanticleer and the Fox, in a medieval manuscript miniature (Photo credit: Wikipedia)
The “Father” of English Literature
Yet, Chaucer was very much an English writer. He is considered the “Father” of English literature and is credited with validating the use of the English language, as a literary language, in a country where French and Latin were “the dominant literary languages.”[1] (See Geoffrey Chaucer, Wikipedia.)
Shakespeare and other Authors
The Hundred Years’ War also exerted an influence on Shakespeare, the co-author of Edward III. Moreover, Thomas Hardy (2 June 1840 – 11 January 1928) evokes the presence of the French in England in his Tess of the d’Huberville(1891). However, characters inhabiting Hardy’s ‘fictional’ Wessex would be the descendants of Normans who settled in England when it was conquered by William, Duke of Normandy.
Conclusion
The Hundred Years’ War was not a continuous struggle, but it was a very long and complex conflict that ended the most vigorous attempt on the part of England to claim the French throne. Marriages had made French the language of the English court and the English had relatives in France as did the French in England.
[1]Pietro Bembo, would validate the use of the vernacular in Italian literature. In France, this role was played by poet Joachim du Bellay (c. 1522 – 1 January 1560).
The word ‘limerick’ was first used in St John, New Brunswick There was a young rustic named Mallory, (A)
who drew but a very small salary. (A)
When he went to the show, (B)
his purse made him go (B)
to a seat in the uppermost gallery. (A)
Tune: Won’t you come to Limerick.
The First Limerick: Vice and Virtue
Thomas Aquinas
Vitiorum/virtutum
The oldest attested limerick is a Latin prayer by Thomas Aquinas dating back to the 13th century.
Sit vitiorum meorum evacuatio Concupiscentae et libidinis exterminatio, Caritatis et patientiae, Humilitatis et obedientiae, Omniumque virtutum augmentatio.
Gershon Legman compiled the “largest and most scholarly edition” of limericks: The New Limerick: 2750 Unpublished Examples, American and British(New York, 1977,ISBN 0-517-53091-0)
The comic text features literary nonsense (i.e. Molière‘s Latin & Turkish)
For a list of authors who use or have used literary nonsense, click on literary nonsense (Wikipedia).
Nonsense Device: The Twist
A clever twist makes for a spirited limerick. But never would I have suspected that the great Rudyard Kiplingwould have used a “small boy of Quebec” to give one of his limericks its rather naïve, but charming twist.
A LIMERICK
There was a small boy of Quebec,
Who was buried in snow to his neck;
When they said. “Are you friz?”
He replied, “Yes, I is— But we don’t call this cold in Quebec.”
I have translated “Marie,” mostly literally, a poem by Guillaume Apollinaire (26 August 1880 – 9 November 1918) set to music by singer-songwriter Léo Ferré. Marie is Marie Laurencin (31 October 1883 – 8 June 1956), an “avant-garde” artist and advocate of Cubism, but not a follower of the movement. However, she was a moderniste. Marie’s paintings are relatively easy to identify. Her style is quite unique.
Marie Laurencin was acquainted with a large number of artists, literary figures, and persons associated with Sergei Diaghilev‘s Ballets Russes, one of whom was a young Pablo Picasso. She also attended the salons of wealthy United States expatriates who made Paris their base and helped propel to fame and sometimes to wealth artists such as Pablo Picasso, Henri Matisse, and Georges Braque.
Wealthy American Gertrude Stein and her companion, Alice B. Toklas, had a salon at 27, rue de Fleurus. Other American expatriates and salonnières were Claribel and Etta Cone.Marie Laurencin knew famed lesbian writer Natalie Clifford Barney who had a salon at 20, rue Jacob and died in Paris.Many American mécènes (patrons) left their Paris quarters when World War II broke out, dooming Jews, homosexuals and those who were “different.”
Celebrated artist Marie Laurencin was very different. Marie was married to German Baron Otto von Waëtjen from 1814 until 1820, but she was romantically involved with revered and now legendary poet Guillaume Apollinaire,born Wilhelm Albert Włodzimierz Apolinary Kostrowicki. Apollinaire was wounded during World War I and died two years later. He was a victim of the Spanish flu pandemic of 1918, a flu akin to the Swine flu of 1976, but as merciless as the plague.
1) Vous y dansiez petite fille Y danserez-vous mère-grand
C’est la maclotte qui sautille (maclotte is a old dance) Toutes les cloches sonneront
Quand donc reviendrez-vous Marie
This is where you danced as a little girl/ Will you dance there as a grandmother/ This is maclotte (an old dance) hopping about/ All the bells will ring/
So when will you come back Marie
2) Les masques sont silencieux
Et la musique est si lointaine
Qu’elle semble venir des cieux
Oui je veux vous aimer mais vous aimer à peine
Et mon mal est délicieux
The masks are silent/ And the music so distant/ That it seems descended from heaven/ Yes, I want to love you, but love you barely/ And my disease is delicious
3) Les brebis s’en vont dans la neige (s’en aller = to go away) Flocons de laine et ceux d’argent
Des soldats passent et que n’ai-je
Un cœur à moi ce cœur changeant
Changeant et puis encor que sais-je
Sheep wade away in the snow/ Wool flakes and those of silver/ Soldiers pass by and would that I had/ A heart of my own, this changing heart/ Changing and then also what do I know
4) Sais-je où s’en iront tes cheveux Crépus comme mer qui moutonne (from mouton: lamb)
Sais-je où s’en iront tes cheveux
Et tes mains feuilles de l’automne
Que jonchent aussi nos aveux
Do I know where your hair will go/Frizzy like the foaming sea/ Do I know where your hair will go/And your hands the leaves of autumn/ Also strewn with our avowals
5) Je passais au bord de la Seine
Un livre anciensous le bras
Le fleuve est pareil à ma peine Il s’écoule et ne tarit pas
Quand donc finira la semaine (return to [1])
I was walking along the Seine/ An old book under my arm/
The river is like my sorrow/ It flows and does not end/
So when will the week be done (return to [1])
Short comments and Notes
In the fourth stanza, I used the word “foaming” to translate moutonner (from sheep, un mouton). (4)
In the third stanza, I made the sheep “wade away” in the snow. In the French song, they are simply going away: s’en aller). (3)
The imagery used by Apollinaire includes the sheep’s fur and hair: animal, human.
The imagery also includes the masques (2), as in a masquerade ball and the commedia dell’arte.
In fact, Marie Laurencin’s “Dancer,” shown above, is dressed like Harlequin, a masque and a stock character in the commedia dell’arte.
However, the first character Apollinaire introduces is a little girl, petite fille, who will be mère-grand (as mère-grand in The Little Red Riding Hood). (Time passes.)
In Marie Laurencin’s painting, the dancer carries a rose. Roses die, so let us seize the day. The poem therefore contains a carpe diem (Pierre de Ronsard‘s Hélène): “Gather ye rosebuds while ye may.” (petite fille/mère grand)
We have colours, that of the sheep and of the snow: white, but also silver or grey (grey hair).
We hear bells. (1)
There is an allusion to soldiers. Apollinaire had been a soldier.
In the fifth stanza, the poet introduces himself: “Je”. He is walking by the Seine which flows unendingly. (5)
This is a rich poem one wishes to explore further, but…
I thank you for your kind words. They’ve helped. My university and the insurance company played with my life and it has been extremely painful. So I am pleased I have my WordPress colleagues and send all of you my love.
This post was published in 2012 and has been revised. When I first published it, I had very few readers.
Charles, Duke of Orléans (24 November 1394, Paris – 5 January 1465), was among the victims of the Hundred Years’ War (1337 to 1453). Had Charles reigned, he would have been a Valois king, a cadet branch of the Bourbon kings. The Salic Law ended the Valois line as women could not accede to the throne of France. Charles’ son,Louis XII, orphaned at the age of three, would be King of France.
Charles d’Orléans is associated with the lore about St Valentine’s Day or Valentine’s Day. He circulated in French courtly circles the Valentine stories told by Chaucer and Othon de Grandson‘s (FR, Wikipedia): birds, martyrs and a note signed “From your Valentine.” Coincidentally, his mother was named Valentina, Valentina Visconti. Her picture is featured below, mourning Louis.
Charles d’Orléans is a fascinating and intriguing figure. He became Duke of Orléans at the early age of 13, when his father, Louis d’Orléans, was assassinated by men acting on behalf of the Duke of Burgundy, the opposing faction. Charles was an Armagnac and, therefore, a supporter of the House of Valois. Joan of Arc was burned at the stake on 30 May 1431, during Charles’ imprisonment in England. Because of her, a legitimate French king, Charles VII (22 February 1403 – 22 July 1461) ascended to the throne. He was crowned at Reims Cathedral.
Valentine of Milan, Charles’ mother, mourning her husband’s death, François-Fleury Richard(Photo credit: Wikipedia)
Jeanne d’Arc, painting, c. 1485. (Centre Historique des Archives Nationales, Paris, AE II 2490) (Photo credit: Wikipedia)
Charles was wounded at the Battle of Agincourt (25 October 1415) and was taken prisoner by Sir Richard Waller. Because he was a “prince du sang,” literally a “prince of the blood,” i.e. a possible heir to the throne of France, Henry V, did not want him to return to France. In fact, Henry V of England also claimed he was heir to the throne of France. So Charles spent nearly 25 years detained in England. It is said that, upon his return to France, in 1440, he spoke English better than French. (See Charles d’Orléans, Wikipedia.)
the Beginning of a Lasting Friendship
During his imprisonment, Charles was seldom behind bars, but housed quite comfortably in various castles. One of these was Wallingford Castle, a castle that belonged to Sir Richard Waller, who had captured him at the Battle of Agincourt (now Azincourt), an English victory and a key moment in the Hundred Years’ War (1337 to 1453).
A very sincere and long-lasting friendship grew between Sir Waller and the Duke, who, upon his release, was very generous to his friend and jailor. In fact, Sir Richard Waller added the fleur-de-lis to the Waller Coat of Arms. Moreover, Charles was a relatively free prisoner, who frequently travelled to London, but never on his own. Yet, he was separated from his family and away from his native country for a very long time. Besides, he must have worried about the future. How could he tell whether or not he would one day return to France?
So Charles whiled away the years of his lengthy captivity writing poems and songs, which, I would suspect, helped him cope in his « Forêt delongue attente », to use his own words (The Forest of Long Awaiting, my very mediocre translation). It could be said, therefore, that he created for himself a “literary homeland,” and never left it. When he returned to France, he stayed at his castle in Blois and entertained poets.
I would also suspect our prisoner was not only rescued by art but that art, poetry in particular, was his true calling. Charles d’Orléans is an important figure in the history of French literature. Britannica describes him as:
“one of the greatest, of the courtly poets of France, who during exile in England also earned a reputation for his poems in English.”[1]
Charles d’Orléans & Marie de Clèves (a tapestry) (Photo credit: Wikipedia)
Charles’ Son: a Future King
After he was freed, in 1440, Charles lived at Château de Blois and befriended poets. But his poems are not his only legacy. At the age of 46, he married 14-year-old Marie de Clèves:
« Car pour moi fustes trop tart née, Et moy pour vous fus trop tost né. »
“You for me were born too late.
And I for you was born too soon.”
Marie de Clèves, whom he loved dearly, bore him three children, one of whom would be Louis XII, King of France. Charles was 68 when his son was born. He had turned to poetry, but he was a “prince du sang” (a Prince of the Blood, i.e. a possible heir to the throne of France). So was his son.
Charles reçoit l’hommage d’un vassal(Photo credit: Wikipedia)
Hella Haasse
In England, Charles wrote ballades(ballads). In France, he wrote rondeaux and rondels.Therondeau however is also a musical form.[2] At the end of En la forêt de longue attente, we find un envoi, a few lines of praise or homage, or a short conclusion. Charles d’Orléans’ Le Printemps, the most famous rondel in the French language, uses a refrain, repeated lines.
Charles d’Orléans’ En la forêt de longue attente is a ballade, written in England and containing an envoi. It was translated in 1949, as Het Woud der verwachting, by Hella Haasse (2 February 1918 – 29 septembre 2011). Hella Haasse’s translations of Charles d’Orléans poetry created a revival of Charles’ poetry in France. But Debussy had already set some of Charles’s poems to music he composed. Edward Elgar set to music “Is she not passing fair.”
“Le Printemps,” the Best-Known Rondel
Charles d’Orléans’ “Le Printemps” (spring time) is the best-known rondel in the French language. A rondelconsists of 13 octosyllabic verses (8 syllables). The translation, not mine, is literal. There are more lyrical translations.
1)
Le-temps-a-lais-sé-son-man-teau (8 syllables)
De-vent,-de-froi-dure-et-de-pluie
Et s’est vêtu de broderie,
De soleil luisant, clair et beau.
The season removed his coat Of wind, cold and rain,
And put on embroidery,
Gleaming sunshine, bright and beautiful.
2)
Il n’y a bête ni oiseau,
Qu’en son jargon ne chante ou crie:
“Le temps a laissé son manteau!
De vent, de froidure et de pluie.”
There is neither animal nor bird
That doesn’t tell in it’s own tongue:
“The season removed his coat. Of wind, cold and rain.”
3)
Rivière, fontaine et ruisseau
Portent en livrée jolie,
Gouttes d’argent, d’orfèvrerie,
Chacun s’habille de nouveau
Le temps a laissé son manteau.
Rivers, fountains and brooks
Wear, as handsome garments,
Silver drops of goldsmith’s work;
Everyone puts on new clothing:
The season removed his coat.
So the story of Charles d’Orléans is a story of survival. During his years of exile, he found a refuge in poetry. He wrote Ballades, rondeaux mainly, but also composed songs and wrote lays (lais) and complaints (complaintes). His poetry is characterized by melancholy, yet it reveals a sense of humour.
Consider Charles’ legacy. Yes, his son would be King of France, Louis XII. But I am thinking of Charles d’Orléans’ poems and songs. Charles d’Orléans lived five hundred years ago, but we still read his poems. He is therefore alive and linked to the lore of St Valentine’s Day.
[2] Together with the ballade and the virelai, it [the rondeau] was considered one of the three formes fixes, and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries. It is structured around a fixed pattern of repetition of material involving a refrain.
—ooo—
(please click on the titles to hear the music)Charles d’Orléans: “Le temps a laissé son manteau,” Michel Polnareff
poet: Charles d’Orléans
piece: “Le temps a laissé son manteau” (Le Printemps)
performer: Ernst van Altena
Love has long been celebrated. In ancient Greece, the marriage of Jupiter to Hera was commemorated between mid-January and mid-February. As for the Romans, in mid-February, they held the festival of the Lupercalia. According to Britannica, the Lupercalia was
[t]he festival, which celebrated the coming of spring, included fertility rites and the pairing off of women with men by lottery.[i]
At the end of the 5th century, Pope Gelasius I replaced the Lupercalia with a Christian feast, the “Feast of the Purification of the Blessed Virgin Mary,” to be celebrated on the 2nd of February. It is said that, in 496, the Pope issued a decree that made the 14th of February the feast of at least one saint named Valentine. However, according to Britannica, “Valentine’s Day did not come to be celebrated as a day of romance from about the 14th century.”[ii]
At any rate, the Lupercalia was eventually replaced by Saint Valentine’s Day, celebrated on the 14th of February. The 14th of February is no longer a feast day in the Catholic Church. But it is a feast day in the Anglican Church. Moreover, Ireland and France have relics of St Valentine, Valentine of Terni in Dublin and an anonymous St Valentine in France.
Saints and Martyrs
There is conflicting information concerning saints named Valentine. It would be my opinion that the only st Valentine we can associate with Valentine’s Day is the saint who slipped his jailor’s daughter a note worded “from your Valentine.”
In French, Valentine’s Day is still called la Saint-Valentin, which suggests that there is a saint and martyr named Valentin. In fact, according to the Catholic Encyclopedia, there may be three saints named Valentine:
Valentine of Terni, the bishop of Interrama, now Terni, also a 3rd-century martyr buried on the Via Flaminia,
a Valentine who suffered in Africa with several companions, and
the Valentine who restored his jail keeper’s daughter’s sight and slipped her a note that read “From your Valentine,” the night before his martyrdom. If this Valentine is associated with Valentine’s Day, it is because of the note he slipped to his jail keeper’s daughter which read: “From your Valentine.” He would be our Valentine or St Valentine.
Valentine’s Day Cards: The Origin
St Valentine, the third Valentine is mentioned, albeit inconspicuously, in Jacobus de Voragine’s The Golden Legend. Moreover, the Roman Martyrology, “the Catholic Church‘s official list of recognized saints,” gives only one Saint Valentine, the martyr who was executed and buried on the Via Flaminia and whose feast day is 14th February. (Saint Valentine, Wikipedia.) This saint’s only link with St Valentine’s day is the note he slipped to his jailer’s daughter: “From your Valentine.” This note would be the origin of Valentine’s Day cards.
St Valentine was martyred about c. 270 CE, probably 269, by Roman emperor Claudius II Gothicus.[iii]According to the emperor, married men were lesser soldiers. This St Valentine could be Valentine of Rome. But it could also be that this Valentine, Valentine of Rome, is the same person as Valentine of Terni, a priest and bishop also martyred in the 3rd century CE and buried on the Via Flaminia. This view is not supported by the Encyclopædia Britannica.[iv]
If this saint is associated with Valentine’s Day, the note signed “From your Valentine” is the only link between a saint named Valentine and Valentine’s Day. The note constitutes the required romantic element.
The Romantic Element
Chaucer: the day birds mate
Le Roman de la Rose
tHE lADY AND THE uNICORN
As mentioned above, Saint Valentine’s Day was not the feast of lovers (i.e. people in love) until a myth was born according to which birds mated on February the 14th. This myth is probably quite ancient but it finds its relatively recent roots is Geoffrey Chaucer‘s (14th century) Parliament of Foules. Othon III de Grandson (1340 and 1350 – 7 August 1397) (Fr Wikipedia), a poet and captain at the court of England spread the legend to the Latin world in the 14th century. This legend is associated with the famous mille-fleurs, (thousand flowers) tapestry called La Dame à la Licorne(The Lady and the Unicorn), housed in the Cluny Museum in Paris. Finally, Chaucer translated part of Le Roman de la Rose.
N.B. The first version of the Canterbury Tales to be published in print was William Caxton’s 1478 edition. Caxton translated and printed The Golden Legend in 1483.
Dissemination
the Legend about birds mating
Othon III de Grandson
Charles d’Orléans
Chaucer: Roman de la rose
It would appear that Othon III de Grandson, our poet and captain, wrote a third of his poetry in praise of that tradition. Othon III de Grandson wrote:
La Complainte de Saint Valentin (I & II), or Valentine’s Lament,
La Complaincte amoureuse de Sainct Valentin Gransson (The Love Lament of St Valentine Gransson),
Le Souhait de Saint Valentin (St Valentine’s Wish),
and LeSonge Saint Valentin (St Valentine’s Dream). (See Othon III de Grandson [in French], Wikipedia.)
Knowledge of these texts was disseminated in courtly circles, the French court in particular, at the beginning of the 15th century, by Charles d’Orléans. At some point, Othon’s Laments were forgotten, but St Valentine’s Day was revived in the 19th century.
In short, St Valentine’s Day is about
a martyr who, the night before his martyrdom, slipped a note to the lady he had befriended, his jailor’s blind daughter, signing it “From your Valentine.”
It is about a legend, found in Chaucer‘s Parliament of Foules, according to which birds mate on the 14th of February.
It is associated with an allegorical tapestry: La Dame à la licorne.
It is about Othon III de Grandson (FR, Wikipedia), a poet and a captain who devoted thirty percent of his poetry to the traditions surrounding St Valentine’s Day.
It is also about courtly love and, specifically, Le Roman de la Rose, part of which was translated into English by Geoffrey Chaucer.
Finally, it is about Charles d’Orléans who circulated the lore about St Valentine in courtly circles in France.
There is considerable information in Wikipedia’s entry of St Valentine’s Day. It was or has become a trans-cultural tradition.
A year ago, I wrote a post on Magical Realism and used Marc Chagall as an example of a strange blend of the real and the unreal and, the “unreal.” I then quoted Professor Matthew Strecher. Magical or magic realism is “what happens when a highly detailed, realistic setting is invaded by something too strange to believe.”[1]
Apuleius‘ (c. 125 – c. 180 CE) Golden Ass features magic realism. The Golden Ass is a short novel and the only novel to have come down to us from Greco-Roman antiquity. It has an ‘outer tale’ within which are inserted several ‘inner tales,’ called “digressions,” most of which reflect the ‘outer tale,’ with the possible exception of Cupid and Psyche.
The story of Cupid and Psyche is a subject-matter borrowed from Greco-Roman mythology (See RELATED ARTICLES, below) Cupid (in Latin, ‘desire’) makes himself invisible, an underlying wish in most human beings, and flies to Milet with strict instructions from his mother Venus, the goddess of love and the Roman counterpart to Greek mythology’s Aphrodite, to kill Psyche, called Psyches in Apuleius’ novel. The story resembles a fairy tale. Instead of killing Psyche, Cupid takes her to a castle, they make love, and she eventually becomes an immortal.
Although Cupid is a winged creature as is Eros, one of the Greek primordial gods and the god of love, Cupid, Cupidon in French, never quite rises to the stature of Eros and is not a god in Roman mythology. In Greek mythology, Eros’ name is associated with eroticism (sensuality and sexuality). However, Cupid belongs to Jean-Antoine Watteau(10 October 1684 – 18 July 1721) ethereal Pilgrimage to Cythera, a painting in which Watteau all but created the fête galante or fête champêtre.
Eroticism (adj. erotic) is a word associated with Greek mythology’s Eros. As for Cupid, he hovers above as lovers exchange vows waiting for the ship that will take them to Cythera, the birthplace of Venus, a locus amœnus. He is the little “angel” whose arrows make people ‘fall in love.’ There is very little room for Cupid in angelology, the study of angels, but Cupid has wings, as does Pegasus, and he is a rather lovely departure from the realm of angels. Falling in love, in amorous literature, is like falling ill. Once stricken by one of Cupidon‘s (FR) arrows, one cannot recover.
Mise en Abyme or the Droste Phenomenon
In literature, in-set tales are usually linked to the outer tale. Sometimes, a teller makes a story-teller tell the tale. This technique is sometimes called a “mise en abyme,”[2] but in the visual arts, such an effect is the image within the image, repeated ad infinitum. It is the box within the box, within the box. There is no end to that picture. It is a vanishing point: a point de fuite. (See Cupid and Psyche, Wikipedia.)
The woman holds an object bearing a smaller image of her holding the same object, which in turn bears a smaller image of her holding the same object, and so on. (Photo credit: Wikipedia)
Mise en abyme: the Mirror Effect
Mise en abyme is perhaps better called the picture within the picture or the mirror effect. The concept was presented to me when I studied the fine arts. We were discussing the Arnolfini Portrait. In Jan van Eyck‘s (before c. 1390 – before c. 9 July 1441) painting, a small round mirror reflects the larger picture and gives it dimensionality. We see the people the Arnolfini couple are looking at, one of whom may be the artist. We also see the objects that are behind the Arnolfini couple, not all of which belong together.
For instance, the frame of the mirror has images showing the passion of Christ. Moreover, the head of the bed features a carving reminiscent of a misericord showing two elements, one of which is a winged animal (zoomorphism) There is a tassel and a set of beads. I think these objects are symbols. Jan van Eyck‘s rather large signature is on the wall: writing on the wall!
Genre Painting and Illusionism
The Arnolfini Portrait is one of the visual arts’ most intriguing and complex images. It includes oranges, a little dog, slippers, a window, an oriental rug, a chandelier, a bed… These are the mostly ordinary elements of genre painting[4]. The Arnolfini Portrait may in fact be the first example of “genre” painting. However, the convex mirror creates a mise en abyme, which may serve illusionism or mimesis.[5] According to Wikipedia, it is a painting that gives the impression that the artist “shares the physical space with the viewer.” (See Illusionism, Wikipedia.)
There can be no doubt that the artist strives to create as representative an image as possible. However, techniques are required to guide the eye, such as “trompe-l’oeil,” literally “to fool the eye,” or foreshortening which “is basically concerned with the persuasive projection of a form in an illusionistic way, it is a type of perspective.”[6] There had been little depth or dimensionality to previous paintings and these had not featured mise en abyme: one little convex mirror that does “shar[e] the physical space with the viewer.”
The Arnolfini Portrait (detail), Jan van Eyck (Photo credit: Wikipedia)
Conclusion
The Arnolfini Portrait dates back to 1434, an early date, but a time when Flanders was part of the Duchy of Burgundy and the cultural hub of Europe. There was a Giovanni di Nicolao Arnolfini (c. 1400 – after 1452). He was an Italian merchant from Lucca, Tuscany, who lived in Bruges with other members of his family. He traded in fabrics and the manner in which he and his wife are dressed demonstrates wealth. Both are wearing fur-lined garments. Arnolfini’s wife is not pregnant, but is holding her “full-skirted dress.” (See Jan van Eyck, The National Gallery, UK). It was customary at that time in history to receive guests in a bedroom.
The Golden Ass is an outer story with inner stories called “digressions,” but these stories within the story, may be mises en abyme. The Golden Ass was first entitled Metamorphoses, but Augustine of Hippo gave it its current title. Ovid‘s (20 March 43 BCE – 17/18 CE) Metamorphoses is the better-known Metamorphoses and one of world literature’s most influential texts. However, The Golden Ass is an ancestor to such authors as Chaucer (see Apuleius’ Cupid and Psyche, RELATED ARTICLES below) and its tales within tales may also make it an ancestor to mise en abyme.
If a text is penned by one author, the same author, can there be such a thing as a true digression? It could be a subtle reflection of the text, a mise en abyme. It is all so mysterious.
As for the Arnolfini Portrait, its mirror is the instrument of a mise en abyme and a possible key to its meaning.
The term “mise en abyme” originates in heraldry. André Gide is credited for its first use in literature.
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[1]Matthew C. Strecher, “Magical Realism and the Search for Identity in the Fiction of Murakami Haruki,” Journal of Japanese Studies (Volume 25, Number 2 [Summer 1999], pp. 263-298) p. 267.
[2]Lucien Dällenbach, Le Récit spéculaire. Essai sur la mise en abyme (Paris, Seuil, 1977).
Other than polite and witty conversation, the main activity of salonniers and salonnières (salonists) was writing. They had been influenced by Giovanni Battista Guarini’s (1538-1612) IlPastor Fido (1590), a pastoral tragicomedy, and Honoré d’Urfé’s L’Astrée (1607-1628), a lengthy novel featuring shepherds and shepherdesses living in bucolic settings resembling Il Pastor Fido‘s Arcadia.
Salonniers and salonnières wrote abundantly and love was their favourite topic. Among the books they wrote, we know about La Guirlande de Julie. It was a gift to Julie d’Angennes, Madame de Rambouillet’s daughter, and contained sixty-two madrigals each of which compared Julie to a flower. According to the rules of Préciosité, a movement born in Salons, women looked upon themselves as precious or précieuses. Moreover, Préciosité had banished unrefined behaviour, in general, and unrefined courtship, in particular. So the Duc de Montausier courted Julie d’Angennes for fourteen years before she consented to marry him.
— Carte du Tendre (the map of love)
This map was included in Mademoiselle de Scudéry’s novel: Clélie.
Moreover, as we will now see, love was subjected to various rules. For instance, Madeleine de Scudéry (1607-1701) described the towns, villages and rivers of her Arcadia, called Tendre. A map of the pays de Tendre was actually designed. It was probably drawn by François Chauveau (1613-1676).
Madeleine de Scudéry (1607-1701) had been a member of l’Hôtel deRambouillet, the first famous salon of seventeenth-century France. But as the Marquise de Rambouillet grew older, salonniers and salonnières started to gather every Saturday at the home of Madeleine de Scudéry whose pseudonym was Sapho. Thus was born the Société du samedi (Saturday Society). It flourished during the second half of the seventeenth century, called le Grand Siècle (the Great Century), the age of Louis XIV (1638-1715), the Sun King.
Clearly outlined on the Carte de Tendre are three forms of love each depicted as towns on the side of three rivers: Inclinaison (inclination), Estime (esteem) and Reconnaissance (gratitude). So love had three forms: inclinaison, estime, reconnaissance. There were villages along the way, all of which were allegorical: Jolis-vers (lovely poems), Billet-doux (love letter) and others.
If lovers allowed themselves to enter untamed passion, they sailed on a dangerous sea, called Mer dangeureuse. However, if passions were restrained, love could be a source of happiness. Interestingly, although she had a gentleman-friend, Paul Pelisson, Mademoiselle de Scudéry never married.
As may be expected, Mademoiselle de Scudéry’s Carte de Tendre was satirized. In fact, Molière (1622-1673) wrote his first Parisian play on the Précieuses:Les Précieuses ridicules(1659). By 1659, the Précieuses had much too high an opinion of themselves. Molière’s comedy was a slight blow to the movement, but the one-act play was a great success and Molière went on to bigger and better things, including a personal friendship with Louis XIV.
Passions were abundantly discussed in seventeenth-century France. Both Descartes and Pascal contributed a treatise on passion. Descartes wrote a treatise on the Passions de l’âme(The Passions of the Soul) and Pascal, a Discourse on the Passion of Love.
However, passionate love was never so dangerous than in Madame de La Fayette’s La Princesse deClèves (1678), a psychological novel in which love is viewed as a source of endless pain. It feeds on jealousy as does Phèdre’s love for Hippolyte. Interestingly, dramatist Jean Racine‘s (1639-1699) Phèdre, a tragedy, was first performed in 1678, the year Madame de La Fayette (1634-1693) published, anonymously, La Princesse de Clèves.
© Micheline Walker
