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Tag Archives: la carte de Tendre

About Marguerite de Navarre

01 Friday Jan 2021

Posted by michelinewalker in 16th-century France, 17th-century France, Huguenots, Love

≈ Leave a comment

Tags

Alexandre Dumas père, L'Heptaméron, la carte de Tendre, La Reine Margot, Mademoiselle de Scudéry, Marguerite de Navarre, Marguerite de Valois-Vendôme

Madame de La Fayette (labibliothèquedesev.wordpress)

I taught La Princesse de Clèves (The Princess of Cleves) year after year for several decades and told my students who the characters were, including their ancestry. It was easy then, but eighteen years later, it is no longer so easy. I remember the main names, but a few names confused me. Some characters have several titles and some characters have the same title. These are hereditary, so it is a matter of lineage.

The Prince of Cleves’ father is the Duke of Nevers, but he remains a Clèves (See List of Counts of Dukes of Vendôme, Wikipedia.) Clèves/Kleve is a comté (county) in Germany. Le Chevalier de Guise, the Prince de Clèves’ rival, has a brother who is Cardinal of Lorraine, but Cardinal de Lorraine is a title. He remains a Guise. Individuals, mostly aristocrats, can have several titles. Moreover, a Marguerite de Navarre may follow a Marguerite de Navarre. Navarre is a title.

Were it not for the two Marguerites, finding a legitimate heir to the throne of France after the death of Henri III would be difficult. Henri II and Catherine de’ Medici had three sons who reigned, but no heir was born to these three sons. However, because Marguerite de Valois-Vendôme was a Queen consort of Navarre, Henri III of Navarre has Bourbon ancestry. He is the son of Antoine de Bourbon, Duke of Vendôme and Jeanne d’Albret, the Queen of Navarre. He was baptised a Catholic and raised as a Huguenot. (See Henri IV of France, Wikipedia.) His ancestor was François de Bourbon-Vendôme. (See List of Counts of Dukes of Vendôme, Wikipedia.) Therefore, Henri III of Navarre can ascend the throne of France as Henri IV of France, when Henri III, King of France and Poland, is murdered without issue.

Portrait of Marguerite d’Angoulême by Jean Clouet, ca. 1527
Portrait of Princess Margaret of Valois by François Clouet, 16th century. Margaret was considered in her time beautiful, cultured, refined and flirtatious: for this, she was called the “pearl of the Valois.” (Wikipedia)

Marguerite de Navarre: l’Heptaméron & La Reine Margot

We have two Marguerites de Navarre, but there may be more. Our first Marguerite de Navarre (1492–1549) is Marguerite de Valois-Angoulême, François 1er‘s sister. This Marguerite de Navarre is the author of an collection of 72 novellas (unfinished) entitled the Heptaméron. She found her inspiration in Giovanni Boccaccio‘s Decameron (1313–1375), a compendium of novellas told by young people who have fled the plague. The Decameron exerted influence on Madame de La Fayette. Both l’Heptaméron and La Princesse de Clèves describe intrigues at the Court of France.

Our second Marguerite de Navarre (1553-1615), also born a Valois or Marguerite de France, is Alexandre Dumas père‘s La Reine Margot, but it is unlikely that she was as depraved as Dumas depicted her. This Marguerite is the daughter of Henri II and Catherine de’ Medici. She married Henri III of Navarre, whom she did not love and who became Henri IV, King of Navarre and France. He converted to Catholicism. He is remembered for saying that Paris was well worth a Mass: Paris vaut bien une messe. Marguerite de France had a brother named Henri III de France. He was King of France and Poland and was assassinated by Jacques Clément, a “Catholic fanatic,” in 1589 (see Henri III of France, Wikipedia). Henri II and Catherine de’ Medici had three sons who reigned but there was a second François. He was their last child. He died in 1585, four years before Henri III, King of France, was murdered. Marguerite de Valois protected her husband during the St. Bartholomew’s Day Massacre.

So, there are two Marguerite de Navarre, both of whom were initially Marguerite de France, of the House of Valois. “France” is the name given to the children of the King of France. Marguerite de France, the second Marguerite, could not have children, so her marriage to Henri IV was annulled in 1599. She then lived in Paris and befriended Henri IV and his wife, Marie de’ Medici. She lived comfortably and had a castle built. Marguerite liked entertaining artists and writers.

As for La Princesse de Clèves‘ characters, despite the multitude named or mentioned in Madame de La Fayette’s novel, few are truly important, although all play a role. The Princesse de Clèves has “digressions” that mirror the main narrative, which, to a certain extent, is a frame story.

La Carte de Tendre, attributed to engraver François Chauveau
  • The princess of Clèves is the former Mademoiselle de Chartres,
  • The prince of Clèves is the Princess’ husband, whom she marries because he is “moins répugnant,” less repulsive, than other men.
  • The Duke of Nemours is the man the Princesse of Clèves truly loves: inclination. This kind of love is the central river in Mademoiselle de Scudéry‘s Carte de Tendre, Tendre-sur-Inclination. The map of love shows two other rivers: Tendre-sur-Estime and Tendre-sur-Reconnaissance. The Prince de Clèves dies of grief but the Princesse de Clèves will not marry le Duc de Nemours. She fears that if he has nothing to wish for, his love will die.
  • The Vidame de Chartres is the recipient of the letter that falls out of the Duke of Nemours’ pocket.
  • Mary Queen of Scots, Marie Stuart, is Queen Dauphine and Queen of France as wife of François II of France.

We will continue to discuss La Princesse de Clèves. but central to its intrigue are her confession (l’aveu) and a letter that falls out of the Duc de Nemours’ pocket after un jeu de paume, today’s tennis. The Princess of Cleves thinks the Duc de Nemours, whom she loves with a passion, is unfaithful. After reading the letter, she feels so betrayed and jealous that love and jealousy become inextricably linked in her mind.

RELATED POSTS

  • La Princesse de Clèves, 2 (22 December 2020)
  • A Lost Post (17 December 2020)
  • La Princesse de Clèves, 1 (15 December 2020)
  • labibliothèquedesev.wordpress
Arcangelo Corelli‘s Christmas Concerto
Henry II of France by François Clouet

© Micheline Walker
1 January 2021
WordPress

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Dom Garcie de Navarre, details

07 Saturday Dec 2019

Posted by michelinewalker in Comedy, Molière

≈ 5 Comments

Tags

Anagnorisis, Francis Baumal, Jealousy as illness, la carte de Tendre, Madeleine de Scudéry, Pity, René Bray, Tragic Flaw

dom_garcie_moliere (2)

Dom Garcie de Navarre (my collection)

Jealousy as a Tragic Flaw

A long conclusion to Dom Garcie de Navarre is not necessary, not for our purposes. But there is more to say. Dom Garcie’s jealousy is not quite the same as that of a man who fears cuckolding. Dom Garcie truly loves Done Elvire and his feelings are reciprocated. I mentioned three events, two of which are the letters. Done Elvire is offended, but she forgives Dom Garcie. At the very beginning of the play, he tells her that he cannot repress his feelings.

Ah! Madame, il est vrai, quelque effort que je fasse,/ Qu’un peu de jalousie en mon cœur trouve place,/ 265 Et qu’un rival absent de vos divins appas/ Au repos de ce cœur vient livrer des combats.
Dom Garcie à Done Elvire (I. iii)
[Alas, Madam, it is true, that, notwithstanding my utmost effort, some trifling jealousy lingers in my heart; that a rival, though distant from your divine charms, disturbs my equanimity.]
Dom Garcie to Elvira (I. 3)

Molière wrote a comédie héroïque, but Dom Garcie’s jealousy is a tragic flaw. Pity plays a role in Dom Garcie, and we know it does as soon as the curtain lifts.

Pity 

At the beginning of Act Four, before our third event, the disguise, Dom Alvar says to Donna Elvira:

1096 Madame, il fait pitié, jamais cœur que je pense,/ Par un plus vif remords n’expia son offense;/ Et si dans sa douleur vous le considériez,/ Il toucherait votre âme, et vous l’excuseriez.
Dom Alvar à Done Elvire (IV. i)
[Madam, he deserves your pity. Never was any offence expiated with more stinging remorse; if you were to see his grief, it would touch your heart, and you would pardon him.]
Don Alvarez to Elvira (IV. 1)

Dom Alvar also mentions Dom Garcie’s age. Age is a factor in Molière. We have seen it in Dom Juan:

Non, c’est qu’il est jeune encore, et qu’il n’a pas le courage.
Sganarelle à Gusman (I. i)
[No, but he is still young, and does not have the heart ….]
Sganarelle to Gusman (I. 1)

At first, Dom Alvar’s words do not appease Done Elvire:

Ah! c’est trop en souffrir, et mon cœur irrité/ Ne doit plus conserver une sotte bonté;/ Abandonnons l’ingrat à son propre caprice,/ Et puisqu’il veut périr, consentons qu’il périsse;/ 1430 Élise… À cet éclat vous voulez me forcer,/ Mais je vous apprendrai que c’est trop m’offenser.
Done Elvira to Élise (IV.  viii)
[Ha! This can no longer be borne; I am too angry foolishly to preserve longer my good nature. Let me abandon the wretch to his own devices, and, since he will undergo his doom, let him—Eliza!… (To Don Garcia). You compel me to act thus; but you shall see that this outrage will be the last.
Done Elvira to Élise (IV. 8)

The Anagnorisis: forgiveness

But Elvire forgives. The play features a redeeming anagnorisis or recognition. Done Elvire is Dom Alphonse’s sister:

Un éclatant arrêt de ma gloire outragée,/ À jamais n’être à lui me tenait engagée;/ Mais quand par les destins il est exécuté,/ J’y vois pour son amour trop de sévérité;
Et le triste succès de tout ce qu’il m’adresse/ 1565 M’efface son offense, et lui rend ma tendresse./ Oui, mon cœur trop vengé par de si rudes coups, Laisse à leur cruauté désarmer son courroux,/ Et cherche maintenant par un soin pitoyable/ À consoler le sort d’un amant misérable;/ 1570 Et je crois que sa flamme a bien pu mériter/ Cette compassion que je lui veux prêter.
Done Elvire  (V. ii)
[When my honour was outraged, I vowed openly never to be his; but as I see that fate is against him, I think I have treated his love with too great severity; the ill success that follows whatever he does for my sake, cancels his offence, and restores him my love. Yes, I have been too well avenged; the waywardness of his fate disarms my anger, and now, full of compassion, I am seeking to console an unhappy lover for his misfortunes. I believe his love well deserves the compassion I wish to show him.]
Done Elvire (V. 2)

At first sight, this change of heart may seem artificial on Done Elvire’s part, but it isn’t, except that comedy has its rules. Done Elvire is the King’s sister, so her love will be sisterly and Dom Alphonse’s brotherly. Dom Alphonse/Silve will marry Donna Ignès. She was his first love and by Done Elvire’s own standards, one marries one’s first love. Dom Garcie is Elvire’s first love. Failing to marry him would a “crime.”

In fact, the degree to which Dom Garcie’s jealousy frustrates and angers her could be looked upon as proportionate to her love. She is the King’s sister and could dismiss him. As for Dom Garcie, he fails in his mission to kill Mauregat, after which, had he been successful, he planned to die. He sees himself as dishonoured. It is as though Dom Silve and Dom Garcie fought a duel as rivals for Done Elvire’s affection. But the duel was an interior conflict, which Dom Alvar recognizes and, ultimately, Dom Garcie himself.

In Act Four, Dom Garcie says to Dom Alvar that he, Dom Garcie, is his worst enemy:

Ah! Dom Alvar, je vois que vous avez raison,
Mais l’enfer dans mon cœur a soufflé son poison;
Et par un trait fatal d’une rigueur extrême,
1485 Mon plus grand ennemi se rencontre en moi-même.
Dom Garcie à Dom Alvar (IV.  ix)
[Ah! Don Alvarez, I perceive you were in the right; but hell breathed its poison into my soul; through a merciless fatality I am my worst enemy.]
Dom Garcie to Dom Alvar (IV. 9)

But in Done Elvire’s eyes, both she and Dom Garcie have public interests. These are her words, not Dom Garcie’s.

Mais, enfin, vous savez comme nos destinées,/ Aux intérêts publics sont toujours enchaînées,/ Et que l’ordre des Cieux pour disposer de moi,/ 1595 Dans mon frère qui vient, me va montrer mon roi.
Done Elvire à Dom Garcie (V. iii)
But you know that it is the doom of such as we are, to be always the slaves of public interests; that Heaven has ordained that my brother, who disposes of my hand, is likewise my King.
Done Elvire to Don Garcia (V. 3)

Done Elvire has shown pity previously and will do so again. Moreover, jealousy has harmed Dom Garcie. In no way does Done Elvire perceive jealousy as a sign a love. On the contrary. She vowed not to marry Dom Garcie. However, she loves him.

La Carte de Tendre

800px-Carte_du_tendre

Carte du pays de Tendre or The Map of Tendre par François Chauveau (Wikipedia)

In the case of Dom Garcie, a brief look at Madeleine de Scudéry‘s “map of Tendre” is useful. Tendre is the country of love.

The Carte de Tendre is included in Mademoiselle de Scudéry’s Clélie, histoire romaine. It was engraved by François Chauveau. Madeleine de Scudéry, an indefatigable writer, had a Salon. She had attended Catherine de Rambouillet‘s salon, the Chambre bleue d’Arthénice (an anagram of Catherine), but as Catherine de Vivonne grew older, Sappho opened her own salon. Gatherings took place every Saturday. These are referred to as les Samedis de Sappho or La Société du Samedi.

The Map of Tendre consists of three rivers: Inclination, Estime, and the river Reconnaissance. Lovers descending the river Inclination (attraction) had fallen in love. Those descending Estime admire the lover they had chosen. As for the river Reconnaissance, it represents gratitude. Done Elvire’s love for Dom Garcie includes all three rivers. The little villages are steps to love, such as Billet Doux, love letters. All lead to a dangerous sea, une mer dangereuse, but in the salons of the middle to late 17th century, one had accepted that love was dangerous, but that to love and to be loved, was, by and large, worth the risks. Love was the greater good. It was a fact of life, but husbands were galants hommes. They were the Prince d’Ithaque. As of the Princesse d’Élide fewer ladies woke early to go hunting and kill a boar, which is how Sostrate may marry Ériphile (Les Amants magnifiques).

Molière has juxtaposed a prince and jealousy, which in Dom Garcie alienates Done Elvire, were it not, first that an anagnorisis reveals that only sisterly or brotherly love is possible between Elvira and her King. Dom Alphonse will marry his first love, and so will Done Elvire, in whose eyes, Dom Garcie has not been dishonoured. In fact, Dom Alphonse is pleased to serve Dom Garcie’s love.

Mon cœur, grâces au Ciel, après un long martyre,
1845 Seigneur, sans vous rien prendre à tout ce qu’il désire,
Et goûte d’autant mieux son bonheur en ce jour,
Qu’il se voit en état de servir votre amour.
Dom Alphonse à Dom Garcie (V. ii)
[My heart, thank Heaven, after a long torture, has all that it can desire, and deprives you of nothing, my Lord. I am so much the happier, because I am able to forward your love.]
Dom Alphonse to Dom Garcie (V. 6)

As for Donna Elvira, she shares Dom Alvar’s opinion. She sees Dom Garcie’s as pitiable and his jealousy, as an illness.

… Et votre maladie est digne de pitié./ Je vois, Prince, je vois, qu’on doit quelque indulgence,/ Aux défauts, où du Ciel fait pencher l’influence,/ 1870 Et pour tout dire, enfin, jaloux, ou non jaloux;/ Mon roi sans me gêner peut me donner à vous.
Done Elvire à Dom Garcie (V. ii)
[… and your malady deserves to be pitied. Since Heaven is the cause of your faults, some indulgence ought to be allowed to them; in one word, jealous or not jealous, my King will have no compulsion to employ when he gives me to you.] (V. 6)

Dom Garcie de Navarre was a failure. It is very long and analytical. Critic René Bray views Dom Garcie as héroïque, but it is his opinion that “preciosity is all the same, something other, and more complex, than the taste for moral analysis.”

La préciosité est tout de même autre chose, et plus complexe, que le goût de l’analyse morale.[1]

He quotes Francis Baumal[2]:

Il se peut après tout que Molière, sauf peut-être dans les Écoles, n’ait point marqué ses préférences et se soit contenté de peindre la société de son temps telle qu’il la voyait.[3]

“It could be after all that Molière, except maybe in his Écoles, did not emphasize his preferences and that he was content to depict the society of his time as he saw it.”

RELATED ARTICLES

  • Love in the Salons: a Glimpse (4 October 2011)
  • The Salons: La Guirlande de Julie (2 October 2011)

Sources and Resources

The Misanthrope is a Wikisource publication EN
Dom Garcie de Navarre is a toutmoliere.net publication FR
Dom Garcie de Navarre is Gutenberg’s [EBook #6740] EN
René Bray’s La Préciosité et les Précieux is an archive.org publication
Images belong to the BnF, but the source of the image featured at the top of his post has been lost.
Bold characters are mine.
I translated Bray and Baumal.

__________________
[1] René Bray, La Préciosité et les Précieux (Paris: Nizet, 1960 [1948]), pp. 222 – 223.
[2] Francis Baumal, Molière auteur précieux (Paris: La Renaissance du livre, 1925).
[3] René Bray, La Préciosité et les Précieux, loc. cit.

Kind regards to everyone. 💕

 

Claire Lefilliâtre, Brice Duisit, Isabelle Druet,
Le Poème Harmonique, Vincent Dumestre

don garcie 4

Dom Garcie de Navarre (théâtre-documentation)

© Micheline Walker
7 December 2019
WordPress

 

 

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Love in the Salons: a Glimpse

29 Tuesday Jul 2014

Posted by michelinewalker in Art, Comedy, French Literature, Literature, Love

≈ Comments Off on Love in the Salons: a Glimpse

Tags

Il Pastor Fido, la carte de Tendre, la Guirlande de Julie, Mademoiselle de Scudéry, Préciosité, Salons

Moreau,JM_YesOrNo

Jean-Michel  Moreau

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) Il Pastor 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

— 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 engraved by François Chauveau (1613-1676).

Madeleine de Scudéry (1607-1701) had been a member of l’Hôtel de Rambouillet, 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 Sappho.  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.

Sappho was well educated and a prolific writer.  Madeleine de Scudéry’s longest work is Artamène, ou le Grand Cyrus (10 vols., 1648–53), but la Carte de Tendre was featured in Clélie (10 vols., 1654–61).

Clearly outlined on the Carte de Tendre are three forms of love each depicted as towns on the side of three rivers: Inclination (inclination), Estime (esteem) and Reconnaissance (gratitude).  So love had three forms:  inclination, 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 de Clèves (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.

RELATED ARTICLES

  • Molière’s “Précieuses ridicules” (7 October 2011)
  • The Salons: la Guirlande de Julie (2 October 2011)

Sources and Resources

  • Descartes’ Discourse on Method can be read online EN: http://www.earlymoderntexts.com/pdfs/descartes1637.pdf
  • Pascal can be read online EN: https://archive.org/stream/blaisepascal00newy/blaisepascal00newy_djvu.txt
  • Molière’s Précieuses ridicules can be read online FR: http://www.gutenberg.org/cache/epub/5318/pg5318.html

—ooo—

Airs de Cour – French Court Music from the 17th Century
Antoine Boësset
 

 

© Micheline Walker
4 October 2011
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(revised; 29 July 2014)
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