• Aboriginals in North America
  • Beast Literature
  • Canadiana.1
  • Dances & Music
  • Europe: Ukraine & Russia
  • Fables and Fairy Tales
  • Fables by Jean de La Fontaine
  • Feasts & Liturgy
  • Great Books Online
  • La Princesse de Clèves
  • Middle East
  • Molière
  • Nominations
  • Posts on Love Celebrated
  • Posts on the United States
  • The Art and Music of Russia
  • The French Revolution & Napoleon Bonaparte
  • Voyageurs Posts
  • Canadiana.2

Micheline's Blog

~ Art, music, books, history & current events

Micheline's Blog

Tag Archives: Goethe

Le Mal du siècle, 19th-Century France

18 Friday Apr 2014

Posted by michelinewalker in French Literature, Literature, Romanticism, The Human Condition

≈ 7 Comments

Tags

Caspar David Friedrich, Chateaubriand, Goethe, Madame de Staël, mal du siècle, Nineteenth century literature, René, Romanticism, théorie des climats, Werther

The Wanderer above a Sea of Fog, by Caspar David Friedrich

The Wanderer above a Sea of Fog, by Caspar David Friedrich, Kunsthalle, Hamburg (Photo credit: Wikipedia) 

“This well-known and especially Romantic masterpiece was described by the historian John Lewis Gaddis as leaving a contradictory impression, ‘suggesting at once mastery over a landscape and the insignificance of the individual within it. We see no face, so it’s impossible to know whether the prospect facing the young man is exhilarating, or terrifying, or both.’”[i] (See Caspar David Friedrich, Wikipedia.) 

Edgar Degas, Melancholy (c. 1874)

Melancholy, by Edgar Degas, c. 1874 (Photo credit: Wikipedia)

Le Mal du Siècle

This duality, “mastery” and “insignificance,” could explain the malaise called le mal du siècle (the malady of the century), a term coined by poet Alfred de Musset (11 December 1810 – 2 May 1857) in La Confession d’un enfant du siècle (The Confession of a Child of the Century), an autobiography published in 1836. Moreover, France entered the nineteenth century after a radical revolution that turned into a bloodbath. Yet the nineteenth century in France was inaugurated by the military victories of Napoleon. The  levée en masse, conscription, of 31 August 1793, had given Napoleon his grande armée.

—ooo—

Let’s take a closer look. Le mal du siècle[ii] is associated with François-René de Chateaubriand‘s René, a novella published separately in 1802, but also included, along with Atala (1801), in Chateaubriand’s Génie du Christianisme (The Genius of Christianity), published in 1802. It was also part of Les Natchez, a work written between 1793 and 1799, but not published until 1826. It is about René, a forelorn protagonist. Along with Atala (1801), it was conceived in America and written in Britain. Chateaubriand belonged to an aristocratic family and had to flee France during the French Revolution. He travelled to North-America, as did many émigrés, and then lived in England where he wrote abundantly. He left a superb narrative describing the Mississippi, the river he calls the Meschacebé and which he is unlikely to have seen.

René’s “mal du siècle”

René, the protagonist of René, is a sensitive young man who simply does not belong and whose mal is melancholy. The word melancholy all but summarizes “le mal du siècle,” also called “le vague des passions,” l’ennui (boredom), “spleen” (in Baudelaire). Chateaubriand has René say that he “lacked something to fill the void on his existence[:]”  “Il me  manquait quelque chose pour remplir l’abîme de mon existence[.]” René also says that man’s natural song is sad: “Le chant naturel de l’homme est triste.” In René’s opinion, “[o]ur heart is an incomplete instrument, a lyre missing strings” forcing us to express joy on the same tone as sighs:

“Notre cœur est un instrument incomplet, une lyre où il manque des cordes, et où nous sommes forcés de rendre les accents de la joie sur le ton consacré aux soupirs.” (René)

La théorie des climats

A reader of Montesquieu, Madame de Staël, the author of De l’Allemage (Germany), 1810-1813, theorizes that northerners are more prone to melancholy than people born and living in sunnier environments. This theory is called “la théorie des climats” and, although it is expressed by Montesquieu, Charles-Louis de Secondat, Baron de La Brède et de Montesquieu (18 January 1689 – 10 February 1755), an early representative of the French Enlightenment, it dates back to Greco-Roman antiquity. Madame de Staël’s northerners would be German-speaking people, the inhabitants of the British Isles and, perhaps, the people of Brittany, France, a Celtic nation. These northerners are Romanticism‘s better recruits.

Lamartine and Pascal

To a certain extent, René’s sadness is yet another expression of man’s duality. In “L’Homme” (Méditations poétiques, 1820), French poet Alphonse de Lamartine writes that “L’homme est un dieu tombé qui se souvient des cieux [.]” (Man is a fallen god who remembers heaven.) As Blaise Pascal (19 June 1623 – 19 August 1662) wrote, there is misère in the mortality of humans, but “grandeur” in the fact that humans know they will die. (Wo)man is a roseau pensant: a mere reed, but a thinking reed.

La grandeur de l’homme est grande en ce qu’il se connaît misérable; un arbre ne se connaît pas misérable.[iii]

(Man’s grandeur is immense in that he knows he is miserable [a mere mortal]; a tree doesn’t know it is miserable.)

But René also suffers from a profound sense of alienation from the world and is therefore considered Werther’s French counterpart. Johann Wolfgang Goethe‘s Werther is the protagonist of The Sorrows of Young Werther (Die Leiden des jungen Werthers), an epistolary novel published in 1774, a quarter of a century before Chateaubriand’s René. 

Sturm und Drang

However, Werther has been associated, rightly or wrongly, with the Sturm und Drang movement (the late 1760s to the early 1780s). The Sturm und Drang (storm and stress) movement, named after a play by Friedrich Maximilian von Klinger (17 February 1752 – 25 February 1831), is characterized by the expression of “extremes of emotion,” and is not restricted to literature. It extends to music and the fine arts (examples are listed under Sturm und Drang, in Wikipedia).

The Sorrows of the Young Werther & René

Goethe (28 August 1749 – 22 March 1832); 1774 In Goethe’s Sorrows of the Young Werther, a bestseller, unrequited love or, love lost, often leads to melancholy, Werther falls in love with Lotte who is about to marry Albert, a man eleven years her senior. He therefore courts rejection. The plot is the classic love triangle. Lotte marries Albert and Werther commits suicide. Werther’s suicide is the expression of an “extreme of emotion.” He has invested his entire self in Lotte (see cathexis, Wikipedia). Chateaubriand (4 September 1768 – 4 July 1848); 1802

François-René, vicomte de Chateaubriand, Anne Louis Girodet Trioson

François-René, vicomte de Chateaubriand, Anne Louis Girodet Trioson (Photo credit: Wikipedia)

As for René, also a bestseller, there is no refuge for its protagonist’s melancholia. He visits the Natchez people in Louisiana, still a French colony, and travels to Scotland, the home Ossian. Ossian is an invented bard whose poetry is that of James MacPherson. René considers suicide, but finds a reprieve when he is joined by his sister Amélie, whom he loves. However, Amélie soon leaves him to enter a convent, her love for René being incestuous. René returns to America and is killed by a Natchez. Les Natchez can be considered an episode, or chapter, in the European discourse on the “Noble Savage.” However, Chateaubriand’s savage is not so noble.

There is no refuge for the Werthers and Renés. Romantics often perceived the world as mediocre and hostile which exacerbated the profound sadness called le mal du siècle. But romanticism can also be summarized as an age when sentiment prevailed over reason. It is a reaction against the Enlightenment. Beginning with René Descartes‘ (31 March 1596 – 11 February 1650) Discourse on Method (1637), reason had prevailed over sentiment.

The Reign of Sentiment

Therefore, it would seem to me that romanticism gives free rein to sentiment and subjectivity over reason. The reign of reason had been challenged by Blaise Pascal and otherwise assaulted, but it could be said that La Querelle des Bouffons, (The War of the Comic Actors) was reason’s major defeat (see Related Articles: Pergolesi). It is also a victory of the Modernes over the Anciens. Romantic authors and musicians revived the Medieval era, a Christian era. They sought their roots. The Brothers Grimm collected the folklore that gave German-speaking people their identity and Wagner gave them their glorious past.

Alfred de musset.jpg

Alfred de Musset by Charles Landelle (Photo credit: Wikipedia)

Weltschmerz: le mal du siècle

Alfred de Musset: Confession d’un Enfant du siècle

At a deeper level, these “extremes of emotion” may be an expression of man’s duality or the human condition. “Siècle” means both century and the world, or the secular and the profane. In his Confession d’un enfant du siècle, mentioned above, Alfred de Musset wrote that:

“Toute la maladie du siècle présent vient de deux causes : le peuple, qui a passé par 93 et par 1814, porte au cœur deux blessures. Tout ce qui était n’est plus ; tout ce qui sera n’est pas encore. Ne cherchez pas ailleurs le secret de nos maux.”

(The entire malady of the present century stems from two causes : the nation that lived through 93 [la terreur or the reign of terror] and 1814 [Napoleon’s defeat: the Battle of Paris] had its heart wounded twice. All there was is no longer; all that will be has yet to come. Seek nowhere else the secret of our ills.)

Such a definition applies to France, but the industrial revolution was no less traumatic than the French Revolution and Napoléon’s: defeat, i.e. 1814.

However, Werther is the victim of unrequited love, the world is not as it should be. As for René, he is at odds with a world that ended in the Terror of 1793-94: 93. However, Werther is the victim of unrequited love, the world is not as it should be. As for René, he is at odds with a world that ended in the Terror of 1793-94: 93. As an aristocrat, Chateaubriand had to flee France. He went to America, as did several émigrés. He then fought in the Army of Princes but was wounded, which forced him to live in England where he was not idle. He and madame de Staël all but invented French romanticism, she as a theorist and he as the finest writer of the early  19th century. All émigrés were amnestied[iv] by Napoleon on 27 April 1802, but Chateaubriand left England in May 1800, when some émigrés were also amnestied.

Conclusion

Humans have long been described or have described themselves as both tall and small. They combine a degree of “mastery” and “insignificance.” This theme underlies most of Western literature. John Milton‘s Paradise Lost tells that story. René’s mal du siècle, however, is also as described by Alfred de Musset. The French Revolution turned into the above-mentioned bloodbath: 93. The King was guillotined and its wealth was taken away from the Church. This was Talleyrand‘s[v] idea, a priest and a bishop. The vote took place on 10 October 1789. Priests fled to Britain.[vi] A new calendar was adopted. Yet, romanticism happened everywhere and, for many years, Madame de Staël‘s château at Coppet was its nucleus and Madame de Staël herself, a theorist of romanticism. Besides, the industrial revolution, a revolution greater than the French Revolution, was introducing the reign of machines that both empowered and lessened humankind, hence Weltshmerz, a term we owe Jean-Paul Richter. Le mal du siècle may well be the birthplace of l’absurde (see Absurdism, Wikipedia).

RELATED ARTICLES

  • Giovanni Battista Pergolesi, revisited (5 December 2013)
  • J’ai perdu tout mon bonheur:” the Lyrics (5 December 2013)
  • A Portrait of Giovanni Battista Pergolesi (20 December 2011)
  1. On Madame de Staël (12 March 2014)
  2. The Nineteenth Century in France (5 March 2014)
  3. Salons and Cafés survive “la terreur” (19 February 2014)

Sources: Chateaubriand (4 September 1768 – 4 July 1848) 

  • Les NatchezFR by Olivier Catel
  • AtalaFR
  • RenéFR
  • Les Aventures du dernier AbencerageFR
  • Le Génie du ChristianismeFR
  • The Genius of Christianity (contains Atala and René)EN
  • Mémoires d’outre-tombe, Tome I Project Gutenberg [EBook #18864]FR
  • Mémoires d’outre-tombe, Tome II Project Gutenberg [EBook #23654]FR

Montesquieu (18 January 1689 – 10 February 1755)

  • Lettres persanes Project Gutenberg [EBook #30268]FR
  • De l’Esprit des lois Project Gutenberg [EBook #27573]FR
  • Persian LettersEN
  • The Spirit of LawsEN
  • Complete Works Online Library of LibertyEN 

Musset (11 December 1810 – 2 May 1857)

  • Confession of a Child of the Century, by Alfred de Musset is a Gutenberg project [EBook #3942]EN

____________________

[i] John Lewis Gaddis, The Landscape of History (Oxford University Press: 2004), pp. 1-2

[ii] “Mal du siècle,” in J. P. de Beaumarchais, D. Couty, A Rey, Dictionnaire des littératures de langue française (Paris: Bordas, 1984).

[iii] Blaise Pascal, Pensées 114-397 (Lafuma/Brunschvicg), in Henri Gouhier et Louis Lafuma, Œuvres complètes (Paris: Éditions du Seuil, 1963), p. 513.

[iv] See Decree on Émigrés, Wikipedia

[v] André Castelot, Talleyrand ou le cynisme (Paris: Librairie Académique Perrin, 1980), p. 160. [vi] Many priests were sent to Quebec, where Britain had French-speaking and Catholic subjects.

Daniel Barenboim plays Songs without Words (Opus 30, N° 01) 
Felix Mendelssohn 

Chateaubriand

Chateaubriand, by Anne-Louis Girodet de Roussy-Trioson (Photo credit: Wikipedia) 
Confession d’un enfant du siècle (trailer): film starring Charlotte Gainsbourg and Peter Doherty
(Sylvie Verheyde, director).
untitled
© Micheline Walker
18 April 2014
WordPress

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

Reynard the Fox, the Itinerant

23 Sunday Oct 2011

Posted by michelinewalker in Literature, Roman de Renart

≈ 5 Comments

Tags

Goethe, Jill Mann, Nivardus of Ghent, Reinhart, Reynaerde, Roman de Renart, Uncle Remus, Ysengrimus

Reineke

Reineke Fuchs 

Photo credit: Wikipedia and Google Images (all)

Born as Reinardus in Nivardus of Ghent‘s Ysengrimus, c. 1150, Reynard the Fox, our sometimes adorable but wicked rascal, is a traveller (un itinérant).[1] We have seen him appear in, at least, two medieval (before the 12th century) beast poems: the anonymous  Ecbasis Captivi, a 1229-line poem in hexameters about a calf stolen by a wolf and rescued by other beasts, and Paul the Deacon’s (c. 720-799) Ægrum Fuit Fama (Once upon a time). But the Sick Lion tale reaches its maturity in the above-mentioned Ysengrimus, a 6,574-line elegiac distich Latin poem translated into English by an admirable scholar: Jill Mann (1984-1985).

Le Roman de Renart :  c. 1170 – 1250

Illumination from a manuscript of the Roman de Renart, end of the 13th century

Illumination from a manuscript of the Roman de Renart, end of the 13th century

 

About twenty years later, Reinardus migrates to France. In c. 1170, Pierre de Saint-Cloud wrote the first “branches” of the Roman de Renart  (yes, with a ‘t’). However, our hero was particularly successful in the Low Countries as Van den Vos Reynaerde, the Reynaert Historie, and other works.

van den vos Reynaerde

Title credit: About Reynard the Fox. (Nederland Film, 1943)
Courtesy Nederland Filmmuseum (frame enlargement Ole. Schepp).

Reynard in England:  Caxton 1481

In the fifteen century, a version of Le Roman de Renart is translated into English by printer and writer William Caxton (c. 1415-1422 – c. March 1492) who entitles his beast epic the Historie of Reynart the Foxe (1481). In 1884, Ernst Voigt publishes an edited translation, into German, of Nivardus of Ghent’s Ysengrimus. Jill Mann writes that

Ernst Voigt, the editor of the only critical edition of the poem, called it ‘comprehensive, systematically planned, wittily and artfully executed work of one of the greatest poets of the middle Ages.’ (Voigt 1884)[2]

Renart in German-language Countries

Our itinerant Renart also travels to German-language countries. Among German language works, he is the protagonist of a Middle High German poem entitled Fuchs Reinhart (c. 1180), a masterpiece of 2,000 lines, written by Heinrich der Glïchezäre. Later, in 1498, a Low German translation of Reynard the Fox, entitled Reynke de Vos, is published. In 1752, J. C. Gottsched publishes his High German prose translation of Reynard the Fox. This is the translation Goethe used to write Reineke Fuchs (1792), in which Reineke has a “treacherous heart.” According to Roger H. Stephenson,

Goethe was also dismayed by the incompetence and fecklessness of the aristocracy at the head of the counter-revolutionary forces.[3]

As Jill Mann states, “[i]t is the comedy of this satiric vision that should be emphasized, since it is this that saves the poem from narrow vindictiveness.” (Mann, in Varty, p. 15.) It would otherwise be somewhat unpalatable. For instance, when the wolf of the Sick Lion tale is divested of his coat, it does not hurt him and he does not die. “The animals talk as if the wolf’s skin was only a garment, easily and painlessly removed.” (Mann, in Varty, p. 10). The comic mode is a self-redeeming discourse. It is an “all’s-well-that-ends-well” narrative.

The Tales of Uncle Remus

Reynard in America:  The Tales of Uncle Remus (1880)

In Joel Chandler Harris’ 9 December 1845 – 3 July 1908) Tales of Uncle Remus, Br’er Fox is in Georgia, US. The manner in which the fox as trickster crosses the Atlantic and journeys to Georgia is difficult to determine. However, one can hypothesize that Renart was brought to the Black population of Georgia by deported Acadians (1755). One can also hypothesize that the Acadians’ status as deportees put them on an equal footing with the black population. Moreover, Chandler Harris had married French-Canadian Mary Ester LaRose.

But in the Tales of Uncle Remus, the fox ceases to be a trickster. He is metamorphosed into a rabbit and, later, the trickster figure is the coyote.

Reynard the Fox also goes in and out of beast epics (unitaires) and fables (parcellaires), Jean Batany’s[4] distinction. For example, there are many fables featuring a fox or another animal that has lost his/her tail. The severed tail motif is very popular in beast literature. In the Aarne-Thompson Motif Index, it is AT 2. However, Reynard is not the Æsopic fox who visits the sick lion’s den and walks away when he notices that the footprints are those of animals walking into the den.This fox may not be our Reynard, but he is a cunning fox, which is his literary role.

Fishing with one’s tail through a hole in the ice

But let us tell one of Renart’s nasty deeds. He says to the wolf that he can catch fish, eels in particular, if he puts his tail down a hole though the ice. Ysengrin is very naïve and does as Reynard suggests.The water freezes so the tail is caught in the ice. Ysengrin loses his tail running away from the people.

 

[1] Kenneth Varty, ed. Introduction, Reynard the Fox: Social Engagement and Cultural Metamorphoses in the Beast Epic from the Middle Ages to the Present (New York & Oxford: Bergham Books, 2000) p. XIII.

[2] Jill Mann, The Satiric Fiction of the Ysengrimus, in Varty, p. 1.

[3] Roger H. Stephenson, The Political Import of Goethe’s Reineke Fuchs, in Varty, p. 191.  The revolution Goethe bemoaned is the French Revolution (1789 – 1794).

[4] Jean Batany, Scène et Coulisses du « Roman de Renart » (Paris : Sedes, 1989), pp. 48-49.

Reineke Fuchs

Reineke Fuchs

© Micheline Walker
23 October 2011
WordPress

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

Reynard the Fox: the Trickster

22 Saturday Oct 2011

Posted by michelinewalker in Beast Literature

≈ Comments Off on Reynard the Fox: the Trickster

Tags

anthropomorphism, Beast Epics, Goethe, goupil becomes renard, Kalila wa Dimna, Machiavelli, Nivardus of Ghent, Panchatantra, Pierre de Saint-Cloud, Roman de Renart, The Prince, Ysengrimus

Renart.reading

A studious fox in a monk’s cowl, in the margins of a Book of Hours, Utrecht, c. 1460
(Photo credit: Wikipedia)

 

Sources: the Sick Lion tale

The fox is beast literature’s foremost trickster and, as we will see below (Townsend), he is a stock character, much as commedia dell’arte characters: the jealous, the boastful, tricksters, etc. As a trickster, he is as cunning as Machiavelli would want his prince to be.

In Western European literature, we find him first in the

  • Ecbasis Captivi, an anonymous Latin poem, written in verse, hexameters, which can be described as a fable (Innerfabel) within a fable (Außerfabel).[1] The Ecbasis Captivi contains the Sick Lion tale. We also find him, i.e. the fox, in Paul Diacre’s or Paul the Deacon’s;
  • Ægrum fama fuit (Paul the Deacon), FR a Carolingian (under King Charlemagne) text that also comprises the Sick Lion tale. The Ecbasis captivi and the Ægrum fama fuit culminate in Nivardus of Ghent’s
  • Ysengrimus (c. 1150), the birthplace of Reinardus who soon becomes Renart in the early “branches” of Pierre de Saint-Cloud’s
  • Roman de Renart (c. 1170). Other authors will write further “branches” or episodes of Le Roman de Renart.

However, the trickster as archetype is as ancient as the Sanskrit Pañcatantra and Persian scholar Abdulla Ibn al-Muquaffa’s Arabic rendition of the Pañcatantra, Kalīlah wa Dimna. In Kalīlah wa Dimna, a sage, Dr Pidpai or Pilpay, gives advice to King Dabscheleim.  The Tales of Kalīlah and Dimna have been translated by Ramsay Wood. In these ancient texts, the trickster figure, or archetype, is a jackal.

Anthropomorphism, or a fox is a fox is a fox

What is most important with respect to beast epics and fables, beast literature’s main genres, is the concept of anthropomorphism. Anthropomorphic animals are humans in disguise and therefore inhabit a comic discourse where the formulaic “all’s well that ends well,” makes comedy’s traditional marriage possible.Whatever the obstacles, in comedy, the young couple marries.

Similarly, in beast literature talking animals are animals. So, given that real animals do not talk, this allows the author to write the truth with impunity.The lion may be a king, but the King, vanity forbids, is not a lion.

There also exist zoomorphic animals who, like the Centaur we met in Chapter XVIII of Machiavelli’s sixteenth-century’s The Prince are half beast and half human, which the prince should be, given the corrupt world in which he lives. Like the Centaur, angels are zoomorphic. Zoomorphic creatures may also combine features borrowed from several animals. They are not anthropomorphic, or humans in disguise. In fact, they are not talking animals.

Renart is a talking animal, and talking animals protect authors because animals do not talk despite considerable eloquence, particularly in the case of Reynard. Reynard’s barat, or clever talkativeness, can pull him out of the worst possible circumstances. As we will see, the fox can talk himself out of raping and, thereby escapes the gallows. A modern example of anthropomorphism in literature is George Orwell’s Animal Farm.

Also central to beast literature are the archetypes. The trickster is an archetype. In his Preface to Æsop’s Fables, George Fyler Townsend states that “[t]he introduction [in fables] of the animals or fictitious characters should be marked with an unexceptionable care and attention to their natural attributes, and to the qualities attributed to them by universal popular consent. The Fox should be always cunning, the Hare timid, the Lion bold, the Wolf cruel, the Bull strong, the Horse proud, and the Ass patient.” This statement reflects an anthropomorphic vision of animals and expresses literary conventions (archetypes: ‘by universal consent.’)

The Sick Lion tale

In my favourite version of this tale, not a Æsopic fable, the Fox overhears the Wolf tell the Lion, already a king, that the fox has been remiss in not visiting the sick lion. So the fox goes looking for old shoes and returns to the lion’s den. He tells the Lion-King that he has travelled the world in search of a cure to the king’s illness and that he has the worn shoes to prove he has not only travelled in search of a cure, but that he has also found it. To get better, the King must wrap himself inside the skin of a wolf whose characteristics are those of the future Isengrim, the wolf on whom Renart will play all kinds of tricks.

 —ooo—

There is so much more to tell about Reynard, but now that we have the founding story, we can tell more. However, I should mention that Renart is a traveller. He is born in Ghent, migrates to France, goes to the Low Countries (Van den Vos Reinaerde) and then to Germany. He is Goethe’s Reinecke Fuchs (c. 1794) DE.

But I will close by emphasizing the popularity of the Roman de Renart. In French, a fox used to be called a goupil, so Renart was a goupil. However, le goupil became le renard (spelled with a ‘d’). Everyone knew Renart, the literary Renart.

—ooo—


[1] Jean Batany, Scène et coulisses du « Roman de Renart » (Paris : Sedes, 1989), p. 57.

0.000000 0.000000

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

Europa

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 2,507 other subscribers

Meta

  • Register
  • Log in
  • Entries feed
  • Comments feed
  • WordPress.com

Categories

Recent Posts

  • Epiphany 2023
  • Pavarotti sings Schubert’s « Ave Maria »
  • Yves Montand chante “À Bicyclette”
  • Almost ready
  • Bicycles for Migrant Farm Workers
  • Tout Molière.net : parti …
  • Remembering Belaud
  • Monet’s Magpie
  • To Lori Weber: Language Laws in Quebec, 2
  • To Lori Weber: Language Laws

Archives

Calendar

February 2023
M T W T F S S
 12345
6789101112
13141516171819
20212223242526
2728  
« Jan    

Social

  • Facebook
  • Twitter
  • YouTube
  • WordPress.org

micheline.walker@videotron.ca

Micheline Walker

Micheline Walker

Social

Social

  • View belaud44’s profile on Facebook
  • View Follow @mouchette_02’s profile on Twitter
  • View Micheline Walker’s profile on LinkedIn
  • View belaud44’s profile on YouTube
  • View Miicheline Walker’s profile on Google+
  • View michelinewalker’s profile on WordPress.org

Micheline Walker

Micheline Walker
Follow Micheline's Blog on WordPress.com

Create a website or blog at WordPress.com

  • Follow Following
    • Micheline's Blog
    • Join 2,475 other followers
    • Already have a WordPress.com account? Log in now.
    • Micheline's Blog
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...
 

    %d bloggers like this: