La belle s’est endormie sur un beau lit de roses The beauty fell asleep on a beautiful bed of roses La belle s’est endormie sur un beau lit de roses The beauty fell asleep on a beautiful bed of roses Blanche comme la neige belle comme le jour White as snow, beautiful as [the] day Ils sont trois capitaines qui vont lui faire l’amour There are three captains who will make love with her
Le plus jeune des trois la prend par sa main blanche The youngest of the three takes her by her white hand Le plus jeune des trois la prend par sa main blanche The youngest of the three takes her by her white hand Montez, montez princesse dessus mon cheval gris Climb, climb Princess on top of my gray horse A Paris j’vous mène dans un fort beau logis To Paris, I’m taking you, to a beautiful home
Finissant ce discours le capitaine rentre As he stopped speaking, the captain comes in Finissant ce discours le capitaine rentre As he stopped speaking, the captain comes in Mangez buvez la belle selon votre appétit Eat and drink Beauty to your appetite Avec un capitaine vous passerez la nuit With a captain you will spend the night
Au milieu du repas la belle a [sic] tombé morte In the middle of the meal, the beauty dropped dead Au milieu du repas la belle a tombé morte In the middle of the meal, the beauty dropped dead Sonnez, sonnez les cloches, tambour au régiment Ring, ring the bells, beat the drums regiment Ma maîtresse elle est morte à l’âge de quinze ans My mistress she has died at the age of fifteen
Mais au bout de trois jours son père s’y promène But at the end of three days her father walks by Mais au bout de trois jours son père s’y promène But at the end of three days her father walks by Ouvrez, ouvrez ma tombe mon père si vous m’aimez Open, open my coffin my father if you love me Trois jours j’ai fait la morte pour mon honneur garder For three days I’ve played dead, for my honor to keep
The translation above is mostly word for word, so one can understand the original French. It is a folk song and folk legend, from French Canada or France. It is only remotely related to Christmas, because Beauty is as white as snow.
I have been trying to post an article on 19th-century Quebec. As workers tried to organize, many priests sided with the boss. Some threatened excommunication, if workers got together. A few workers were killed. In short, it’s heartbreaking.
Yet, I will write the shortest of posts. We are living and dying in the age of Covid-19. There are new outbreaks. So I want to tell you to wear a mask. It’s your only defense.
Social distancing does not work very well unless one also wears a mask. Nature has made us gregarious, so we automatically approach others.
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
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.
Marc-André Hamelin (b. 1961) is a Canadian virtuoso pianist and a composer, born and raised in Montreal, Quebec. No piece is too difficult for him. He has often praised the nun who taught him how to play the piano. His father should also be praised.
Dmitri Hvorostovsky singing aria from The Queen of Spades during reopening gala of the Bolshoi Theatre, 28 October 2011 (Caption and photo credit: Wikipedia)
It is so difficult to accept the death of Russian baritone Dmitri Hvorostovsky. He was a powerful male singer with a “silver mane” (this description is not mine). Hvorostosky had brown hair, but it turned white in his early thirties. He passed away on 22 November 2017, at the age of 55.
Hvorostovsky was born in Krasnoyarsk, Siberia, on 16 October 1962, to what I would describe as an upper middle-class family. He came to the attention of music lovers everywhere when he won the BBC Cardiff Singer of the World competition, in 1989.
In the summer of 2015, Hvorostovsky announced that he had a brain tumour. After a short leave, he resumed his career, at a slower pace and briefly. An inoperable malignant brain tumour is merciless.
Baritone Dmitri Hvorostovsky was in good health when he sang Di Provenza, il mar, il suol, an aria from Giuseppi Verdi‘s La Traviata(1852), an opera derived from a novel by Alexandre Dumas, fils‘ (27 July 1824 – 27 November 1895) La Dame aux camélias (The Lady with/of the Camellias) (1848), or Camille, to an English-speaking audience. Dmitri Hvrostovsky is Giorgio Germont, trying to persuade his son, Alfredo, who loves Violetta, to return to Provence, the family home (Scene 2 of La Traviata).
The protagonist of Giuseppi Verdi‘s La Traviata (the fallen woman) is Violetta Valéry. Alexandre Dumas named his protagonist Marguerite Gautier. She had been Marie Duplessis (1824 – 1847) who wore a red camellia when she was menstruating, a message to her lovers. She was born Alphonsine Rose Plessis, in Normandy, to an abusive father who sold her when she was 15.
At the age of 16, the beautiful Marie Duplessis conquered Paris. She bore a child to Charles Morny, duc de Morny, but the baby died a month after birth. The duc de Morny, Charles Maurice de Talleyrand‘s illegitimate grandson and a half-brother to Napoleon III, looked after Marie Duplessis, providing her with an apartment and transforming her into a refined courtesan and salonnière, the most famous in her days. She was Alexandre Dumas, fils’ lover and a lover to various aristocrats as well as composer Franz Liszt. Alexandre Dumas, fils, born in 1824, could not afford to marry her.
The lovely Marie Duplessis died of tuberculosis on 3 February 1847, at the age of 23. At her bedside were her husband, a brief marriage, the comte de Perregaux, and her former lover, the Baltic-German count Gustav Ernst von Stackelberg.
Girl with Peacock by Peter Schlosser, 1896 (Photo credit: fleurdulys)
Peter Schlosser was an Austrian artist, in the days of Art Nouveau, Jugendstil and the Wiener Secession (the Vienna Secession). I found a post about him, but no entry. This above painting is dated 1896.
Gustav Klimt and other artists founded the Wiener Secession in April 1897. Klimt’s Portrait of Adele Bloch-Bauer is dear to me because I was a friend of relatives, members in fact, of the Bloch-Bauer family. My friends were Hélène and Francis Gutmann. Francis, whose mother was a Bloch-Bauer, finished a PhD in physics, at the University of British Columbia, where I also completed a PhD. However, we had met in Victoria. I also met Mr. Bloch-Bauer, an uncle (I believe). He was an older gentleman at the time, the very late 60s. If my memory serves me well, he spoke French. Francis met his wife, my friend Hélène, in Montreal. He enjoyed playing the piano. The Nazis pillaged the family home. His brother-in-law, a prince, taught me the Viennese Waltz. Francis was born in Vienna and died in Montreal, in 2014.
King Henry VIII, by Hans Holbein the Younger, Walker Art Gallery, Liverpool (Photo credit: Wikipedia)
Casuistry
The Fragmentation of the Western Church
When Antonio Escobar y Mendoza (1589 – 4 July 1669) published his Summula casuum conscientiæ (1627), the handbook of casuistry, the Roman Church had been severely fragmented. Escobar y Mendoza and Francisco Suárez (5 January 1548 – 25 September 1617), Jesuits, were therefore addressing an alarmed and vulnerable Western Church, a Church ready to use remedies it may not have otherwise contemplated. Casuistry all but took sinfulness out of sin. Consequently, it was attacked by Blaise Pascal, in his Lettres provinciales(1658-1659), and ridiculed by Molière(Tartuffe) and La Fontaine. But it allowed the king to sin.
Let us assess the damage
Henry VIII of England (28 June 1491 – 28 January 1547; king: 21 April 1509 until his death), who was not allowed to divorce, ended up making himself head of the Church of England.
John Calvin (French, Jean Calvin, born Jehan Cauvin: 10 July 1509 – 27 May 1564) and French Huguenots, Calvinist Protestants, could easily point a guilty finger not at Jesus of Nazareth,but at the Churchas a human institution. Calvin is the author ofThe Institutes of the Christian Religion, publishedin 1536.
To the above, we could add the Edict of Nantes, promulgated in 1598, by Henri IV who was both king of France and king of Navarre. The Edict of Nantes offered protection to the formerly persecuted Huguenots, which seemed the correct remedy, but Huguenots were not loyal to the Roman Church and were therefore a potential obstacle to absolutism in the eyes of cardinal-duc de Richelieu.
Richelieu may have been right when he suggested to Louis XIII that the Huguenots’ right to have “places fortes” (fortified communities), such as La Rochelle, could imperil absolutism, i.e. one king, one language, one religion. These “places fortes” could be turned into genuine fortified places. (See Siege of La Rochelle, Wikipedia.) However, did he have to let twenty-two thousand Huguenots starve to death?
Casuistry: origins
Casuistry, a recipe for ethical laissez-faire, does not find its origins in seventeenth-century Spain, or Escobar y Mendoza, Francisco Suárez and other casuists. In dates back to ancient Rome and ancient Greece.
Plato (left) and Aristotle (right), a detail of The School of Athens, a fresco by Raphael (6 or 28 March 1483 – 6 April 1520). Aristotle gestures to the earth, representing his belief in knowledge through empirical observation and experience, while holding a copy of his Nicomachean Ethicsin his hand, whilst Plato gestures to the heavens, representing his belief in The Form.
For example, casuistry has roots in ancient Rome and, especially, ancient Greece, and the Renaissance had given greater access to the knowledge of ancient Rome and Greece. In his Nicomachean Ethics, Aristotle (384 BCE – 322 BCE)[i]proposes an examination of certain actions, not all, before judgment is passed with respect to their moral acceptability.
Casuistry and Jurisprudence
I should mention thatcasuistry has often been defined as jurisprudence applied to morality. For instance, the Ten Commandments do not permit the killing of a human being, but during a war that restriction is lifted. It is also lifted in the case of self-defence. As well, many countries have retained what other countries look upon as profoundly unethical: the death-penalty. This would suggest that the sinfulness of an action depends to a smaller or larger extent on circumstances and location. Jurisprudence is the study of cases (casuistry).
In other words, moral relativism is not new.
—ooo—
However, with casuistry, a sin could be rendered innocent using “methods” that manipulated reality, which Blaise Pascal could not accept, nor Molière, nor La Fontaine.
Casuistry: a general definition
There were great advantages to casuistry in that allowed the “grands” among the faithful to sin without sinning, which constitutes an unacceptable form of moral relativism and, by and large, benefits only the “grands” or the rich and powerful. Casuistry proposed “methods” that could be used to make a wrong a right. The most important of these “methods” or doctrines were:
la direction d’intention, or the end [l’intention] justifies the means (Machiavellian);
mental restriction (saying part of the truth out loud, but saying the rest silently, within oneself);
the doctrine des équivoques: using ambiguous or equivocal terms, to transform a message;
probability (one theologian who said “no” could be overruled by a theologian who said “yes” as both were theologians.
I am leaving out: easy devotion (la dévotion aisée), and dispensation from loving God (la dispense d’aimer Dieu) and there may be other “methods” or doctrines, but for a detailed account of the methods put forth by casuistry, one needs to read Escobar y Mendoza, Francisco Suárez and other proponents of casuistique, a task best performed by theologians.
Among the four “methods” or doctrines I have listed, the most disputed was the fourth: probability, which pitted one authority against another.
Henry VIII & Henri IV
The Church of England separated from the Roman Church because Henry VIII (28 June 1491 – 28 January 1547) was not allowed to divorce Catherine of Aragon and having separated from the Roman Church, Henry VIII went on to have wives decapitated.
But let us look a the life of Henri IV of France who was a good king, but a womanizer who did not honour his promise to marry Catherine Henriette de Balzac d’Entragues, should Gabrielle d’Estrées(1573 – 10 April 1599), his official mistress, pass away. Henri IV probably expected Gabrielle d’Estrées to live a long time, but she died of eclampsia on 10 April 1599, at the age of 26. A few months later, Henri married Marie de’ Medici, not Catherine Henriette de Balzac d’Entragues, whom he had promised to marry.
Moreover, where was the Church, when Henri IV, a Protestant married Marguerite de Valois (14 May 1553 – 27 March 1615), a Catholic who did not want to marry him?Henri IV, king of Navarre, stood outside Notre-Dame de Paris while his wedding took place.
Henri IV abjured Protestantism on 25 July 1593, following the advice of his mistress, Gabrielle d’Estrées, a Catholic, but he did so unconvincingly: “Paris vaut bien une messe.” (Paris [the crown] is well worth a mass.) He converted five years after his becoming king of France. I surmise he had to convert in order to be crowned, which meant he was seeking power.
Finally, in 1599, ten years after he became king of France (1589), Henri had his marriage to Marguerite de Valois annulled on the grounds that she could not bear him children, which may not have constituted valid grounds for an annulment had Henri IV not needed heirs and had he not been a “grand.” He had also had Gabrielle d’Estrées’ marriage annulled. So what happened to Henry VIII? Why was his marriage not annulled?
Henri IV, king of France and king of Navarre, was no choir boy. He loved women. But he may well have been the best king France ever had.
Adultery
In other words, what we see here is adultery which, according to Judaism’s Ten Commandments, is a sin. Unlike Henry VIII, Henri IV did not break with the Roman Church to marry another woman. Nor did he have wives decapitated. But he had an insatiable sexual appetite which he obviously felt free to indulge perhaps given his “divine rights of kings,” a notion he and Henry VIII had probably never heard of.
Moreover, it was not uncommon for monarchs whose marriages were arranged to keep an official mistress. Henri II of France, Marguerite de Valois’ father, was married to Catherine de’ Medici, but he had a mistress, the powerful Diane de Poitiers.
Opposition to Casuistry
In his Lettres provinciales(1656-1657), Blaise Pascal[ii] (19 June 1623 – 19 August 1662), using a pseudonym, Louis de Montalte, condemned casuistry. Molière mocked it in Tartuffe (1664, 1666, 1669) a play he often revised to please “le parti des dévots” and escape the death penalty. As well, La Fontaine, bequeathed a long list of poems where the “grands” do with impunity what is not allowed of the “petits.”
—ooo—
In other words, the rapid breakdown of the Roman Church justified robust recourses, but did it justify taking sinfulness out of sin in aristocratic rather than plebeian circles. There can no doubt that circumstances play a role in determining whether some actions are ethically permissible. But can taking all sinfulness out of sinful actions be acceptable?
Pascal was not heard in his lifetime, but in 1679, “Pope Innocent XI publicly condemned sixty-five of the more radical propositions (stricti mentalis), taken chiefly from the writings of Escobar, Suárez (Catholic Encyclopedia) and other casuists as propositiones laxorum moralistarum and forbade anyone to teach them under penalty of excommunication.”[iii]
Ironically, if indeed casuistry was used to prevent further fragmentation of the Western Church, it was also an indictment of the Church, which can lead one to think that Pope Innocent XI perhaps saved the Western Church. .
