Portrait of Philip II by Titian, c. 1550 (Photo credit: Wikipedia).
Above is a portrait of Élisabeth de Valois, or Élisabeth de France (1545-1568). She was the first daughter born to Henri II of France and Catherine de’ Medici. It had been arranged for her to marry the King of Spain’s son: Carlos. However, the Prince’s father, Philip II, would not sign the long-awaited Peace of Cateau-Cambrésis unless he could marry Élisabeth. She was 14 and died during pregnancy at the age of 23. She had shared a bedroom with Mary Queen of Scots, Marie Stuart, since childhood. Marie Stuart, who married Francis II of France, was brought up in France and is referred to as the Queen-Dauphin. She would be Queen of France after Henri II sustained a serious injury in a tournament. He died on 10 July 1559. Ambroise Paré could not save him.
After constant entreaties, the Princess confesses that she is in love with another man. This scene is called l’aveu, the confession. But she will not say whom she loves. The Prince of Clèves is a bit of a villain. He is increasingly jealous. Madame de Clèves is an aristocrat but she was brought up by a virtuous mother away from the court, or the world.She will not enter into a liaison. Her only defence is to avoid seeing the Duc de Nemours. The Prince de Clèves opposes her wish. He will not accept absences, unless they are short.
La Princesse de Clèves is a realistic novel. In no way can it be associated with lengthy romances such as Honoré d’Urfée‘s L’Astrée, a pastoral, or other anciens romans. Her novel is a petit roman. She was influenced by Marguerite de Navarre’s L’Heptaméron,[1]but her novel is otherwise a roman fondateur, a foundind novel. (See La Princesse de Clèves, Wikipedia). The novel is currently read as a series. It is preceded by La Princesse de Montpensier and followed by La Comtesse de Tende. For the last few years, La Princesse de Montpensier has attracted considerable attention. It is a Franco-German film by Bertrand Tavernier, released in 2010.
I apologize for publishing these posts slowly. I reread the novel three times. I am older and life keeps teaching me lessons. As well, my memory is now rather poor. So, I must convert to short posts or end my career as a blogger. The above is not my complete post, but nearly so.
_________________________ [1] Ellen J. Hunter-Chapco, Theory and Practice of the Petit Roman in France(1656-1683): Segrais, Du Plaisir, Madame de La Fayette, A Bibliographical Guide (Regina: University of Regina, 1977), p. 14 and elsewhere.
the Duke of Nemours, the man who falls in love with the Princess, illicit love.
the Vidame de Chartres who lies to Catherine de Médicis, the Queen.
Marie Stuart, the Princess’s friend and the future Queen of France.
Before her death, Madame de Chartres warns her daughter. Appearances are deceptive. This could be looked upon as a lieu commun, a common assumption. In his Pensées, Blaise Pascal also warns that we may be the victims of a deceitful environment. In other words, court is not as it appears. Diane de Poitiers, Duchesse de Valentinois, Henri II’s mistress had been his father’s mistress. For the Princesse de Clèves, these dramas are very real. She and the Duc de Nemours have fallen in love. She knows therefore what kind of sentiments the Prince of Clèves expected of his wife.
Elle vit alors que les sentiments qu’elle avait pour lui étaient ceux que monsieur de Clèves lui avait tant demandés ; elle trouva combien il était honteux de les avoir pour un autre que pour un mari qui les méritait. (ebooks, p 20) […she then found, that the sentiments she had for him were such as the Prince of Cleves had required of her; she perceived how shameful it was to entertain them for another man, and not for a husband that deserved them …] Wikisource [32-33])
As we enter Part Two, the Prince of Clèves tells his wife about his friend Sancerre who fell in love with a widowed woman, whose feelings started to change. She had fallen in love with another man, Etouteville (Estouteville). This tale is a long digression on the topic of disloyalty and the pain that ensues. However, we must skip the details and return to La Princesse de Clèves’ main narrative. Madame de Clèves has returned to court, only to learn from the Queen Dauphin that the Duke of Nemours is in love, that he has not told anyone the name of the person he loves, but that his love is so powerful that he has lost interest in marrying Elizabeth of England.
Mais ce que j’ai le plus d’envie de vous apprendre, ajouta−t−elle, c’est qu’il est certain que monsieur de Nemours est passionnément amoureux, et que ses amis les plus intimes, non seulement ne sont point dans sa confidence, mais qu’ils ne peuvent deviner qui est la personne qu’il aime. Cependant cet amour est assez fort pour lui faire négliger ou abandonner, pour mieux dire, les espérances d’une couronne. (eBooksgratuits, p.28) [she related to her a great many extraordinary things; but what I have the greatest desire to inform you of, added she, is that it is certain the duke de Nemours is passionately in love; and that his most intimate friends are not only not entrusted in it, but can’t so much as guess who the person is he is in love with; nevertheless this passion of his is so strong as to make him neglect, or to speak more properly, abandon the hopes of a crown. (Wikisource [48])
Her husband has spoken, so Madame de Clèves remains at Court, a prey to dangers. Court is hell because she is the woman the Duke loves to the point of losing interest in Elizabeth I of England. By the Duke’s standards, Madame de Clèves may be at fault. But what would life be if she gave in? Allow me to quote my former classmate and colleague, Dr Ellen Hunter-Chapco.
Madame de La Fayette invite son publiclecteur à une remise en question du rôle de la femme mariée tel tel qu’élaboré dans la littérature prescriptive des années 1630 et 1640, et, aussi, à une réflexion sur le décalage entrele statut officiel du mariage et les attentes des femmes de son époque. [Madame de La Fayette invites her readers to reassess the role of the ill-wedded woman as it develops in the prescriptive literature of the 1630s and 1640s, and, also, to reflect on the discrepancybetween the official status of marriage and the expectations of the women of her time.] [1]
See footnote [1]
The Letter
I must end this post. I will discuss l’aveu (the confession) in another post. Moreover, I have left out the tale of Ann Boylen, Elizabeth I of England’s mother. It is a digression and it is not. The letter episode is central. The Queen-Dauphin gives the Princess a letter which, reportedly, fell out of the Duke’s pocket after un jeu de paume, tennis. The letter has been written by a woman who has been betrayed. The grief that arises in the Princess’ mind is the worst of torment.
Jamais affliction n’a été si piquante et si vive : il lui semblait que ce qui faisait l’aigreur de cette affliction était ce qui s’était passé dans cette journée, et que, si monsieur de Nemours n’eût point eu lieu de croire qu’elle l’aimait, elle ne se fût pas souciée qu’il en eût aimé une autre. Mais elle se trompait elle−même ; et ce mal qu’elle trouvait si insupportable était la jalousie avec toutes les horreurs dont elle peut être accompagnée. Elle voyait par cette lettre que monsieur de Nemours avait une galanterie depuis longtemps. (eBooksgratuits, p.38) [Never was affliction so cutting as hers; she imputed the piercingness of it to what had happened that day; and believed that if the duke de Nemours had not had ground to believe she loved him, she should not have cared whether he loved another or not: but she deceived herself; and this evil which she found so insupportable was jealousy, with all the horrors it can be accompanied with. This letter discovered to her a piece of gallantry the duke de Nemours had been long engaged in.] (Wikisource [68])
The following morning, the Duke goes to see the Princess. The letter did not fall out of his pocket. The letter was written to the Vidame de Chartres who has come to him because the Queen, Catherine de’ Medici, would like him to be her confidant if he is not engaged in a galanterie, an affair. Earlier, he has lied to the Queen.
C’est parce que je vous parle sincèrement, Madame, lui répondis−je, que je n’ai rien à vous dire ; et je jure à Votre Majesté, avec tout le respect que je lui dois, que je n’ai d’attachement pour aucune femme de la cour. (eBooksgratuits, p. 41) [It is, madam, answered I, because I deal sincerely, that I have nothing more to say; and I swear to your majesty, with all the respect I owe you, that I have no engagement with any woman of the court.] (Wikisource [75])
Madame de Clèves will not speak with the Duke. She thinks that she has been betrayed. Consequently, the Duke of Nemours asks the Prince de Clèves to lead him to Madame de Clèves’ room. The Princess is so broken that she can barely believe the Duke is not the recipient of this letter. She has experienced jealousy and, by the same token, she has discovered that she loved. She and the Duke must rewrite the letter, so no one recognizes the handwriting. These are happy moments, but they cannot last.
_____________________________ [1]Homo narrativus – La cour et le cabinet : l’espace-femme dans La Princesse de Montpensier, La Princesse de Clèves et La Comtesse de Tende de Madame de La Fayette – Presses universitaires de la Méditerranée (openedition.org)
Madame de La Fayette, gravure de 1840 d’après Desrochers.
Madame de La Fayette, gravure de 1840 d’après Desrochers.
We know the immediate historical background of the Princesse de Clèves, and I have suggested intertextuality. Marguerite de Navarre’s L’Heptaméron features intrigues and disloyalty at court. But the discourse on love takes us back to the ancient Roman poet Ovid’s Ars Amatoria, and it may have antecedents such as extremely distant fairytales. These will be refined in seventeenth-century French salons. Charles Perrault’s Tales of Mother Goose are “re-told” tales.
However, let us return to our narrative. The Princess of Cleves and the Duc de Nemours have fallen in love. It is the coup defoudre, or love at first sight, à première vue. In Jansenist France, this is l’amour fatal, as fatal as Tristan’s love for Iseult and Iseult’s love for Tristan, but without recourse to a magical potion. They have seen one another and fallen in love. But the Princess of Clèves has married and she has been taught loyalty to one’s husband. A liaison with the Duc de Nemours would be illicit. Therefore, she must suppress and hide her feelings, which is not possible.
The Mareschal de St. André’s Second Ball
The mareschal de St. André’s will host a second ball which the Princess is expected to attend. However, after hearing that the Duc de Nemours would not want his mistress to attend a ball he is not hosting, she feigns illness not to attend the ball. She has betrayed herself.
Vous voilà si belle, lui dit madame la dauphine, que je ne saurais croire que vous ayez été malade. Je pense que monsieur le prince de Condé, en vous contant l’avis de Nemours sur le bal, vous a persuadée que vous feriez une faveur au maréchal de Saint-André d’aller chez lui que vous feriez une faveur au maréchal de Saint-André d’aller chez lui, et que c’est ce qui vous a empêchée d’y venir. Madame de Clèves rougit de ce que madame la dauphine devinait si juste, et de ce qu’elle disait devant monsieur de Nemours ce qu’elle avait deviné. (ebooks, p. 19) [You look so pretty, says the Queen-Dauphin to her, that I can’t believe you have been ill; I think the Prince of Conde when he told us the duke de Nemours’s opinion of the ball, persuaded you, that to go there would be doing a favour to the mareschal de St. André, and that that’s the reason which hindered you from going, Madam de Cleves blushed, both because the [Q]ueen-[D]auphin (Marie Stuart), had conjectured right, and because she spoke her conjecture in the presence of the Duke de Nemours.] (Wikisource [31])
Madame de Chartres has accompanied her daughter and vows that the Princess was genuinely ill, but le Duc de Nemours is not convinced. Madame de Clèves has behaved the way he wants his mistress to behave. Besides, Madame de Clèves blushes in the presence of the Duc. As she is dying, Madame de Chartres tells the Princess of Clèves that she is “sur le bord du précipice” (ebooks, p. 21), “on the brink of a precipice.” (Wikisource [35-36])
Mademoiselle de Chartres is so beautiful that when she arrives at court she appears as in the word “apparition.”
Il parut alors une beauté à la cour, qui attira les yeux de tout le monde, et l’on doit croire que c’était un beauté parfaite, puisqu’elle donna de l’admiration dans un lieu où l’on était si accoutumé à voir de belles personnes. Elle était de la même maison que le vidame de Chartres, et une des plus grandes héritières de France. (ebooksgratuits, p. 7) [There appeared at this time a lady at Court, who drew the eyes of the whole world; and one may imagine she was a perfect beauty, to gain admiration in a place where there were so many fine women; she was of the same family with the Viscount of Chartres, and one of the greatest heiresses of France, (…)] (Wikisource [8])
As for the Duc de Nemours, he is described as “perfection” itself. Therefore, a worried Madame de Chartres tells her daughter that he Duke of Nemours is incapable of falling in love.
Elle se mit un jour à parler de lui ; elle lui en dit du bien, et y mêla beaucoup de louanges empoisonnées sur la sagesse qu’il avait d’être incapable de devenir amoureux, et sur ce qu’il ne se faisait qu’un plaisir, et non pas un attachement sérieux du commerce des femmes. (ebooksgratuits, p. 20) [One day she set herself to talk about him, and a great deal of good she said of him, but mixed with it abundance of sham praises, as the prudence he showed in never falling in love, and how wise he was to make the affair of women and love an amusement instead of a serious business.] (Wikisource [32])
The Death of Madame de Chartres
After her mother dies, the princess of Clèves leaves court. Given that she is mourning her mother, her absence is motivated. The Prince of Clèves returns to “faire sa cour,” but should his wife delay her return to Paris, suspicion would arise. Many of the denizens of Henri II’s court may discover why the Duc de Nemours no longer behaves as he did. The Duke is expected to marry Elizabeth Ist of England, and the time has come for him to meet Elizabeth in person or face her scorn. The Court speculates that he is in love, but no one can tell whom he so loves that he would lose interest in marriage to Elizabeth. Marie Stuart, the Queen-Dauphin, cannot wait to tell her friend, the princesse de Clèves.
No, the Queen-Dauphin cannot wait:
Dès le même soir qu’elle fut arrivée, madame la dauphine la vint voir, et après lui avoir témoigné la part qu’elle avait prise à son affliction, elle lui dit que, pour la détourner de ces tristes pensées, elle voulait l’instruire de tout ce qui s’était passé à la cour en son absence ; elle lui conta ensuite plusieurs choses particulières. — Mais ce que j’ai le plus d’envie de vous apprendre, ajouta−t−elle, c’est qu’il est certain que monsieur de Nemours est passionnément amoureux, et que ses amis les plus intimes, non seulement ne sont point dans sa confidence, mais qu’ils ne peuvent deviner qui est la personne qu’il aime. Cependant cet amour est assez fort pour lui faire négliger ou abandonner, pour mieux dire, les espérances d’une couronne. (ebooks, p. 29) [The evening of her arrival the queen-dauphin made her a visit, and after having condoled with her, told her that in order to divert her from melancholy thoughts, she would let her know all that had passed at court in her absence; upon which she related to her a great many extraordinary things; but what I have the greatest desire to inform you of, added she, is that it is certain the duke de Nemours is passionately in love; and that his most intimate friends are not only not entrusted in it, but can’t so much as guess who the person is he is in love with; nevertheless this passion of his is so strong as to make him neglect, or to speak more properly, abandon the hopes of a crown.] (Wikisource [48])
L’Amour fatal: Two Moral Compasses
Madame de Clèves is perturbed. Who is this woman who would make the Duke de Nemours abandon his marriage with Elizabeth 1st of England? If she, the Princess of Cleves, is the cause of such changes in the Duc de Nemours, he is “in love,” l’amour fatal. But although she is powerless, she feels guilty. She has been raised by a virtuous mother, but at court liaisons are acceptable. Princes and princesses marry to perpetuate a lineage. Therefore, they may have liaisons. However, Madame de Clèves has been taught virtue. When she hears that the Duc de Nemours is no longer interested in marrying Elizabeth 1st of England, which is a huge sacrifice, the Princess feels extremely distressed. The Duc de Nemours has fallen in love and it is l’amour fatal, Tendre-sur-Inclination. The seventeenth century in France was largely Jansenist. One cannot choose; one is chosen: predestination. The Princess and the Prince are powerless.
The Princess of Cleves Published by G. Kearly No. 46 Fleet Street Augt. 1, 1777. (Wikisource)
I wrote a second post on La Princesse de Clèves, but it has disappeared. I do not know how to retrieve an earlier version of a post written in the Block Editor.
I was about to discuss our heroine, Mlle de Chartres, who has been taken to court by her widowed mother so she can find a husband. She is sixteen and has not discovered passion. She will marry le prince de Clèves, but he will find no change in her after they marry. In the following quotation, she is still unmarried, but she does not know life, let alone love. Mlle de Chartres is sixteen. She marries the Prince of Cleves who is less repulsive (avec moins de répugnance) than other men.
The Prince of Cleves senses that she does not love him:
Est-il possible, lui [le prince de Clèves] disait-il, que je puisse n’être pas heureux en vous épousant? Cependant il est vrai que je ne le suis pas. Vous n’avez pour moi qu’une sorte de bonté qui ne peut me satisfaire; vous n’avez ni impatience, ni inquiétude, ni chagrin; vous n’êtes pas plus touchée de ma passion que vous le seriez d’un attachement qui ne serait fondé que sur les avantages de votre fortune, et non pas sur les charmes de votre personne. (Le Prince de Clèves) (Gutenberg’s eBook # 18797) [Is it possible, says he, that I should not be happy in marrying you? and yet it is certain, I am not. You only show me a sort of civility which is far from giving me satisfaction; you express none of those pretty inquietudes, the concern, and impatience, which are the soul of love; you are no further affected with my passion, than you would be with one which flowed only from the advantage of your fortune, and not from the beauty of your person. (Wikisource [15])
Mademoiselle de Chartres ne savait que répondre, et ces distinctions étaient au-dessus de ses connaissances. Monsieur de Clèves ne voyait que trop combien elle était éloignée d’avoir pour lui des sentiments qui le pouvaient satisfaire, puisqu’il lui paraissait même qu’elle ne les entendait pas. (Gutenberg’s eBook # 18797) [Mademoiselle de Chartres did not know what to answer; these distinctions were above her comprehension. The prince of Cleves plainly saw she was far from having that tenderness of affection for him, which was requisite to his happiness; it was manifest she could not feel a passion which she did not understand.] (Wikisource [16])
Mlle de Chartres will discover passion after she marries the Prince de Clèves. She will be invited to a ball, le bal du Maréchal de Saint-André. She has been told about the Duc de Nemours:
Mais ce prince était un chef−d’œuvre de la nature ; ce qu’il avait de moins admirable était d’être l’homme du monde le mieux fait et le plus beau. [The duke de Nemours was a masterpiece of nature; the beauty of his person, inimitable as it was, was his least perfection; what placed him above other men, was a certain agreeableness in his discourse, his actions, his looks, which was observable in none beside himself: he had in his behaviour a gaiety that was equally pleasing to men and women; in his exercises he was very expert; and in dress he had a peculiar manner, which was followed by all the world, but could never be imitated: in fine, such was the air of his whole person, that it was impossible to fix one’s eye on anything else, wherever he was.] (Wikisource []
She knows who he is when she sees him at the ball. It will be the coup de foudre.
Madame de Clèves acheva de danser et pendant qu’elle cherchait des yeux quelqu’un qu’elle avait dessein de prendre, le roi lui cria de prendre celui qui arrivait. Elle se tourna, et vit un homme qu’elle crut d’abord ne pouvoir être que monsieur de Nemours, qui passait par-dessus quelques sièges pour arriver où l’on dansait. Ce prince était fait d’une sorte, qu’il était difficile de n’être pas surprise de le voir quand on ne l’avait jamais vu, surtout ce soir-là, où le soin qu’il avait pris de se parer augmentait encore l’air brillant qui était dans sa personne; mais il était difficile aussi de voir madame de Clèves pour la première fois, sans avoir un grand étonnement. (Gutenberg’s eBook # 18797) [She had finished her dance, and as she was casting her eyes round to single out some other person, the king desired her to take him who came in last; she turned about, and viewing him as he was passing over the seats to come to the place where they danced, she immediately concluded he was the duke of Nemours. The duke’s person was turned in so delicate a manner, that it was impossible not to express surprise at the first sight of him, particularly that evening, when the care he had taken to adorn himself added much to the fine air of his carriage. It was as impossible to behold the princess of Cleves without equal admiration.] (Wikisource [19])
I hope my second post on La Princesse de Clèves will surface. Part of it is in Words, and I remember what I wrote. It could be, however, that the quotation above reveals an impending tragedy. After the ball, we enter Part Two of a four-part narrative.
Madame de La Fayette, born Marie-Madeleine Pioche de La Vergne, is the author of La Princesse de Clèves, published anonymously in 1678. Madame de La Fayette married an older gentleman, François Motier, Comte de La Fayette and bore him two sons. The Comte de La Fayette preferred to live at one of his country estates in Auvergne and the Bourbonnais, but Madame de La Fayette was born in Paris and remained her native city.
La Princesse de Clèves is Madame de La Fayette’s third novel. In 1662, she published La Princesse de Montpensier, anonymously, and is also believed to be the author of Zaïde which appeared under the name of Academician Jean Regnault de Segrais. Writing was not considered an appropriate occupation for a woman “of quality.” Yet, in Salons of the first half of the 17th century, love was forever discussed and writing was a favourite pastime.
As we know, Mlle de Scudéry wrote lengthy novels, one of which, Clélie, histoire romaine, features the Carte de Tendre, a map of love engraved by François Chauveau. Tendre was Préciosité’s country of love. So, women wrote, but rank may have been problematical. Honnêteté was not necessarily aristocratic. At any rate, Madame de La Fayette’s teacher was Gilles Ménage, a grammarian.
The action of La Princesse de Clèves is set in 16th-century France, during the French Wars of Religion. It is considered a historical novel, a form of ailleurs (elsewhere), hence more fictional. We are at the court of Henri II, the second son of François 1er of France. François is married to Catherine de Médicis, but his mistress is Diane de Poitiers. Henri II died accidentally, jousting in 1559. His three sons would reign. Francis II reigned very briefly. He was King of France for a year and five months. He developed and ear abcess that killed him. He was sixteen and had reigned for about 17 months. Charles IX died of tuberculosis in 1574, and Henri III, King of Poland and King of France, who was assassinated, and had not produced a heir to the throne. The death of Henri II’s male children ended the House of Valois. Henri IV, King of Navarre and a Bourbon king, converted to Catholicism and became Henri IV, King of France and Navarre. He took an interest in New France and inspired Voltaire‘s Henriade. Henri IV is the father of Louis XIII.
Catherine de Médicis, her three sons, and Marguerite de Valois
A Psychological Novel
Madame de La Fayette’s Princesse de Clèves is also, and mainly, a psychological novel. There may have been a co-author, François, Duc de La Rochefoucauld. He and Madame de La Fayette met daily when she was writing her Princesse de Clèves. But François was writing his Maximesdenouncing human behaviour which, in his opinion, was steeped in self-interest, including virtue. One suspects the influence of Jansenism, which suggests that if one cannot atone for the original sin during one’s life, one may expect a pitiless and eternal afterlife.
Frontispice de La Princesse de Clèves de Mme de La Fayette, coll. Les Chefs-d’Œuvres illustrés, Éditions de la pléiade, J. Jiffrin 1929
La Princesse de Clèves was Madame de La Fayette’s third novel and it is about love, but love impossible. The main notion underlying Madame de La Fayette’s portrayal of love is that love is in no way possible if it is reciprocated. Madame de Clèves’ husband dies of jealousy. He loves her, but she does not love him. One therefore indulges in petits plaisirs.
Once Dom Juan has seduced a woman, he no longer loves her. If a father is killed avenging his daughter, God strikes.
This mixed-media depiction of Harlequin, by Russian artist Kasyan Yaroslavovitch Golejzovsky, was sold at an auction, in Düsseldorf, Germany, on 9 November 2017. I congratulate its owners. I love this work of art for many reasons. For instance, movement is beautifully expressed. Would that I had the money to bid and buy at auctions. However, I visit, if only to see beautiful objects.
Harlequin is a zanno (zanni), a comic servant, who was introduced into the Commedia dell’arte by 17th – century actor – manager Zan Ganassa (c. 1540 – c. 1584): Zan (=zanni) Ganassa. Commedia dell’ arte actors were professionals. They were provided with an outline of the comedy (called a canevas in French), where they played a role, always the same role, which they improvised. The Italians travelled to other countries. Ganassa was in Spain from 1574 to 1584. Paris had its Comédie-Italienne, and Harlequin was in 18th – century London.
In the commedia erudita, however, actors used a script written by a playwright. Ben Johnson, Shakespeare, Molière and dramatists preceding them often drew their material from Plautus (254 BCE [Sarsinia, Umbria, Italy] – BCE 154)[1]and Terence (195 BCE [Carthage, current Tunisia] – 159 BCE [Greece or at sea]).[2] Roman dramatists Plautus and Terence wrote in Latin, but the vernacular, early forms of Italian, was also used by actors. However, Plautus and Terence, found their inspiration in Greek New Comedy (320 BCE to the mid 3rd century BCE), from which they also borrowed. Molière‘s Miser (1668) is rooted in Plautus’ Aulularia.
Harlequin is perhaps the best-known of the commedia dell’arte’s zanni and one of its most celebrated characters. Harlequin always wears a costume. It is part of the mask, but behind the mask there is a man, or a woman. Until the creation of Pierrot, drawn from both pantomimes and the commedia dell’arte, the stock characters of the commediadell’arte seemed what they appeared.
However, Pierrot, created in late 17th – century France, by the Parisian Comédie-Italienne, is a sad clown, a mask wearing a mask. He entertains an audience, but he loves Columbina who loves Harlequin. This is love’s triangle, an impossible love that may feed on jealousy. As the 17thcentury drew to a close in France, Madame de la Fayette[3] published La Princesse de Clèves, in which her heroine will not marry Monsieur de Nemours for fear he will stop loving her once his love is reciprocated. Jean Racine‘s Phèdrefails to save Hippolyte, whom she has falsely accused of trying to seduce her, when she learns Hippolyte claims to love Aricie. La Princesse de Clèveswas published in 1678, the year after Phèdre was first performed.
The Duel after the Masquerade by Jean-Léon Gérôme (Photo credit: Wikipedia)
In this respect, he is perhaps the most enigmatic character of the commedia dell’arte, and the most human. Jealous love finds its best expression in a novel by Madame de La Fayette,La Princesse de Clèves(1678). But Molière’s Arnolphe, the blocking-character in The School for Wives, L’École des femmes, is jealous. The Gelosi (jealous) were also a commedia dell’ arte troupe, but jealous love is not associated with the Gelosi. In Britannica, we read that:
“The name was derived from the troupe’s motto, Virtù, fama ed honor ne fèr gelosi. (“We are jealous of attaining virtue, fame and honour”).[4]
Commedia dell’arte troupe, probably depicting Isabella Andreini and the Compagnia dei Gelosi, oil … CFL—Giraudon/Art Resource, New York (Photo credit: Britannica)
