BANSANG FRANCE Ang Watawat ng France Tricolour ang tawag sa bandila ng France. Mula noong 1830 ay ginagamit na ito na mula sa disenyo ni Jacques Louis David. SIMBOLO Ang mga tradisyunal na kulay ng Paris. Maaring maiugnay din kay Birheng Maria na patron ng France. Asul at Pula Pagkakapantay-pantay ng mga tao. Puti Ang France o French Republic ay isang malayang bansa sa Kanluran ng Europe. Ang France ay pangatlo sa pinakamalaking bansa sa Kanlurang Europe at European Union. Ang kapitolyo ng France ay ang Paris, ang pinakamalaking lungsod ng bansa at sentro ng kultura at komersyo. Katulad ng iba pang bansa sa Mediterranean, mayaman sa panitikan ang France. Ang panitikang ito ang nagsisilbing kanlungan ng kanilang mga sinaunang kaugalian tradisyon, at kultura sa kabuuan Ito ay pinaliligiran sa timog ng Espanya, Andorra, Monaco at Dagat Mediterraneo, sa hilaga at kanluran ng Karagatang Atlantiko, at sa silangan ng Belhika, Luxembourg, Alemanya, Suwisa, at Italya.
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panahon ng Iron Age at Roman era ay tinawag na Gaul. Habang ang malawak na pagkakaiba ay naghiwalay sa mga lungsod at punong -lungsod, sa loob ng nakalipas na 200 taon na digmaan – ang Digmaang Franco-Prussian, Unang Digmaang Pandaigdig at Ikalawang Digmaang Pandaigdig –nagkaroon ng magkaisang lakas. Ang pangalang Pransiyaay hinango sa salitang Latin na Francia na ang ibig sabihin ay " Lupain ng mga Prangko" . Maraming mga teorya ang nagsasabi ng pinagmulan ng pangalan ng mga Prangko. Pamahalaan Ang Republikang Pranses ay isang unitaryong semi-pampanguluhan na republika na may matibay na tradisyong demokratiko. Ang konstitusyon ng Ikalimang Republka ay inaprubahan ng isang reperendum noong 28 Setyembre 1958. Ang Pangulo ng Republika, na Pinuno ng Estado at direktang inihahalal ng mga mamamayan para sa limang-taong panunungkulan (dating pitong taon), at ang Pinuno ng Pamahalaan, na pinamumunuan ng itinalagang Punong Ministro Kultura Kadalasan ay kinakabit ang kulturang Pranses sa Paris, na sentro ng moda,
pagluluto, sining at arkitektura, subalit ang buhay sa labas ng Lungsod ng mga Ilaw ay ibang-iba at nagkakaiba sa bawat rehiyon. Magugunita na ang kultura ng France ay naimpluwensiyahan ng Celtic at Gallo-Roman Culture, gayundin ang Franks, isang tribong German. Wika Ang Pranses (Pranses: français; Ingles: French) ay isang wika na nagmula sa Pransiya. Noong 1999, ito ang wikang may ika-11 pinakamalaking bilang ng mga tagapagsalita sa buong daigdig, sinasalita ng higit-kumulang na 77 milyong tao (tinatawag nafrancophones) Relihiyon Katoliko ang pangunahing relihiyon ng France – tinatayang 80% ay nagsasabing sila ay Katoliko. Ang iba pang pangunahing relihiyon ay Islam, (karaniwang relihiyon ng mga dayuhan mula sa hilagang Africa), Protestante, at Judaism. Lutuin Palaging may tinapay sa bawat oras ng pagkain, at karaniwan nang makakita ng mahaba, crusty baguettes na iniuuwi sa bahay. Ang keso ay mahalaga ring sangkap ng bawat pagkaing French. Lutuin boeuf bourguignon – nilagang baka na kinulob sa red wine, beef broth at nilagyan ng bawang, sibuyas at kabute coq au vin, ulam na may manok, alak na Burgundy, Jardons (maliliit na hiwa ng taba ng baboy), button mushrooms, sibuyas at maaari ring lagyan ng bawang. Pananamit Ang Paris ay kilala sa matataas na uri ng fashion houses; ang mga taga-France ay kilala sa hindi matatawarang mariringal na pananamit. Karamihan sa kanila ay sopistikado kung manamit, disente at sunod sa uso (professional and fashionable style), ngunit hindi sobra sa dekorasyon (overly fussy). Ang karaniwang damit nila ay mahahabang amerikana, terno, mga bandana (scarves) at berets o bilog at malalambot na sombrero. Piyesta at Pagdiriwang Ipinagdiriwang ng mga taga-France ang mga tradisyunal na piyesta ng mga Kristiyano tulad ng Pasko at Mahal na Araw. Inaalaala din nila ang May Day, kilala rin bilang Araw ng mga Manggagawa tuwing Mayo 1 at Araw ng Tagumpay sa Europa kapag Mayo 8 bilang pag-alaala sa pagtatapos ng pakikipaglaban sa Europa noong Ikalawang Digmaang Pandaigdig. Ang Araw ng Bastille ay ipinagdiriwang tuwing Hulyo 14, ang araw kung kailan ang fortress ng Paris ay binagyo ng mga rebolosyunista upang masimulan na ang Rebolusyon sa France.
HISTORY OF FRENCH LITERATURE French romance: 12th - 13th century
The western half of Charlemagne's Frankish empire, approximating to modern France, introduces in the 12th century a new and influential strand in European literature. The Franks, as a Germanic tribe, enjoy a powerful epic tradition (from Beowulf to the Nibelungenlied) in which heroism is the stock-in-trade of fierce warriors beset by often monstrous dangers. But in this western part of the Frankish empire - profoundly influenced by Rome, and speaking a Romance language rather than a Germanic one - there now emerges an element which borrows its name from these qualities. The arrival of romance transforms the warrior into a gentleman. The first epic poems to reflect this change are a group of about eighty from the 12th and 13th century known as the chansons de geste ('songs of deeds'). Performed by professional minstrels in castles and manors, usually to the accompaniment of a lute, they celebrate the martial exploits of the kings of Carolingian France, and in particular of Charlemagne and his paladins. The emphasis is now not so much on the violence of the battle. It is on the honour of the participants, on the loyalties required of them in the feudal system, and on their religious obligations in this age of crusades. The greatest of the chansons de geste is also one of the earliest - the Chanson de Roland, dating probably from about 1100. Although it is set in one of Charlemagne's campaigns, the attention is on his followers Roland and Oliver rather than the king himself. The same is true of another heroic cycle launched in France later in the 12th century. In the stories of King Arthur (a legendary English king, but featured in literature mainly by the French), the emphasis falls more on the knights of the round table than on the table's owner. And now there is a new element, in the prominent part played by a woman, Queen Guinevere. The ideal of courtly love becomes part of the tradition. Among all the innovations of French authors in the 12th century, none is more influential than courtly love. This theme - of a gentleman's devotion to his often unattainable lady - is quintessentially romantic in concept. It long outlasts any other literary tradition of the Middle Ages. Courtly love is associated first, in the 12th century, with the famous troubadours of southern France. Following their example, it moves through the rest of Europe and enters the mainstream of literature. Chanson de Roland: c.1100 A very early manuscript of the Chanson de Roland (dating from about 1130, in Oxford's Bodleian Library) reveals that the author of France's first great epic poem is probably called Turold. The setting for his story is Charlemagne's expedition of
778 against the Muslims in Spain. The entire campaign was in reality disastrous, but Turold's choice of incident declares uncompromisingly that this is to be a new kind of heroic poetry. The poet concentrates on a small but undignified event (the successful attack by hill people on the rear of Charlemagne's army in the pass of Roncesvalles) and transforms it into a glorious occasion. He does so by concentrating on the obstinate courage of two of Charlemagne's followers. The rearguard is under the command of Roland, one of the paladins. Intead of a few Basques or Gascons (the historical reality), the enemy is now a vast army of Muslims. Seeing their number, Roland's companion Oliver urges him to sound his horn to summon Charlemagne back to their defence (one theme of the poem is the contrast between Oliver's commonsense and Roland's headstrong inclination to drama and heroism). Roland refuses to summon help and fights valiantly against overwhelming odds (20,000 against 400,000 men). When only 60 Franks are left, Roland decides to sound his horn after all. Oliver this time argues against doing so (there is now no point), but Roland expands his lungs for one last flamboyant gesture. Roland blows his oliphant (a horn of elephant tusk) with such force that he bursts a vein in his head. The mournful sound carries 30 leagues (some 90 miles) to the ear of Charlemagne, who turns south in response. By the time he reaches Roncesvalles, all the Franks are dead. But God delays sunset on that day, to give the Frankish king time to inflict a heavy defeat on the fleeing Muslims. Roland, magnificent in failure, begins a long career as a new kind of hero. As Orlando, he is particularly popular with the Italians - becoming Innamorato ('enamoured') in Boiardo's epic of 1487, and Furioso ('frantic') in Ariosto's sequel of 1516. The troubadours and courtly love: 12th - 13th century The love poetry of the troubadours is linked with a very specific region - southern France and the adjacent regions of Spain and Italy. Unlike the earlier tradition of minstrels or jongleurs (a French word related to 'juggling', which suggests the level of entertainment involved), the troubadours tend to be aristocrats. Indeed the earliest troubadour whose poems survive is William IX, duke of Aquitaine in the early 12th century. The central region of the troubadours is Provence and the language of their poetry Provençal - the southern version of French. The feeling expressed in the poems of the troubadours is the refined passion known as courtly love. It is a sentiment exactly suited to the feudal world in which the troubadours and their
audience live. The devotion of the courtly lover to his mistress is in one sense a reflection of the unswerving loyalty owed by the vassal to his lord in the idealized concept of feudalism. In practical terms, this distant fidelity suits the social context of a nobleman's castle. The lady of a feudal castle is likely to be a woman of high birth whose marriage has been arranged for reasons of practical and dynastic advantage. Love is not a factor here. But an affectation of illicit love makes an intoxicating diversion within the confined community of her lord's followers. Two powerful reasons urge that such love remain an affectation. The lady and her retinue are greatly outnumbered by the men in this society; and they are mostly of a higher social class. No doubt base reality sometimes upsets the pretence. But the ideal of courtly love is that the lover serves his lady with utter devotion from afar. Love poetry is a natural part of this game. Probably many a squire tries his hand at it. Some 400 troubadours (not all of them high-born) become sufficiently famous for their poems to be gathered in manuscripts and for details of their lives to be known. The interconnecting marriages of feudal society soon spread the new fashion. Eleanor of Aquitaine (granddaughter of William IX, the troubadour duke of Aquitaine) is herself a great patron of troubadours, and her successive marriages to the kings of France and England bring new audiences. In the courts of Germany and Austria, by the second half of the 12th century, the Minnesinger are fulfilling the same role as the troubadours. By the end of the 13th century the tradition of the troubadours has declined. Feudalism is losing its freshness, and the south of France has suffered greatly in the wars against the Albigensians. But these first poets of courtly love are long outlived by their romantic concept - of a passion, akin to worship of the distant loved one, which in its intensity of experience brings its own reward. This is the feeling of Dante for Beatrice, of Petrarch for Laura. At a different level, in medieval churches and cathedrals, it is the affection of millions of ordinary Christians for the Virgin Mary - who can almost be called the sweetheart of the Middle Ages. Arthurian romance: 12th - 15th century The theme of Arthur, a legendary Celtic king of Britain, proves well suited to the demands of medieval romantic literature. The Carolingian kings have provided the basis for the chansons de geste. But they are historical figures, so a tenuous link with reality is desirable (though rarely attained). And with their emphasis on the heroic camaraderie of the paladins, there is little scope in the stories for female characters.
By contrast the world of King Arthur and his knights offers an already existing collection of exotic tales, which can be adapted and extended to suit the romantic interests of a new generation. If there is a historical basis for King Arthur, it is as a leader of the Celts against the encroaching Anglo-Saxons in the 5th or 6th century (the same period as the dramatic events which inspire many of the incidents in Germanic legend). Stories about Arthur evolve from the late 8th century, mainly in the Celtic stronghold of Wales. In about 1135 they are gathered together in Historia Regum Britanniae ('History of the Kings of Britain') by Geoffrey of Monmouth, a cleric with an unbounded appetite for improbable detail. It is this material which is transformed in France, a few decades later, into literature. Of several French authors dealing with the theme, the most influential is Chrétien de Troyes who writes five Arthurian romances between about 1160 and 1190. Chrétien's light and elegant touch sets the tone for a developing tradition of courtly romance. Even more significant, he is the first to adapt courtly love (developed by the troubadours in their lyrics) to the more sustained pleasures of narrative and adventure. He does so, above all, in his account of the passion of one of Arthur's knights, Lancelot, for the king's wife, Guinevere. The tale of their adultery (Lancelot is a courtly lover who succeeds in his quest) becomes one of the most popular love stories of the Middle Ages. Chrétien de Troyes introduces another more spiritual adventure which later becomes an important theme in Arthurian legend the quest for the Holy Grail, in which the activity of Arthur's knights is given a mystical and Christian dimension. In Chrétien's text the Grail is unexplained; in later authors it becomes the vessel used by Jesus for the wine at the Last Supper. Its great merit is that it ennobles the magic adventures undergone by the knights in their quest for it. Subsequent French romances develop these two main themes the love of Lancelot and Guinevere, and the quest for the Grail. The Arthurian legends, transplanted from Wales to France in the 12th century, return amplified to Britain 300 years later. In 1469 an English knight, Thomas Malory, is in gaol. With time heavy on his hands he begins to compile, from French texts, the first English account of King Arthur and his knights. He completes the task some time in 1470. All that is known of Malory comes from the last words of his book, where he gives his name and prays for deliverance from prison. In 1485 Caxton prints the manuscript, calling it Morte Darthur. It rapidly becomes one of the most popular books in Britain, teaching the British all that they know about their legendary
king.
François Villon: 1455-1463 With the poems of Villon literature seems to spring, at one bound, from the mentality of the Middle Ages to a completely modern poetic sensibility. In the 14th century Chaucer describes the Canterbury pilgrims with well observed realism, but he does so in a mood of wry amusement. He keeps his distance, as a poet who moves in rather more elevated court circles. Villon, just half a century later, spends his life among people lower in society than Chaucer's humblest pilgrims. He observes their condition, together with his own, in short, vivid, unblinking verses of an extraordinary immediacy - often deriving directly from the circumstances in which he finds himself.
He graduates from the Sorbonne in Paris as a master of arts in 1452, but in a quarrel three years later runs his sword through a priest. This murder (for which he is at first sentenced to banishment, then pardoned by royal reprieve) begins a spell of eight years during which Villon is constantly at odds with the law, until he vanishes from sight in 1463. In 1456 he is apprehended with some friends robbing a college of 500 gold coins. He makes his escape, leaving a poem called Lais ('Legacy', also known as the 'Little Testament') in which bequeaths all sorts of useless objects to friends and enemies alike.
The records reveal that Villon is in prison in Meung-sur-Loire for much of 1461. After his release he writes his major poem, the Grand Testament, surveying the sorrows and horrors of his life. He interrupts the text from time to time with self-contained ballads. One of these is the famous Ballade des Dames du Temps Jadis (Ballad of the Ladies of Times Past), in which he compares the passing of beautiful women to the vanishing of the snows of yesteryear. His subjects range from Thaïs, a famous courtesan loved by Alexander the Great, to a romantic heroine of his parents' generation - 'Joan, the beautiful girl from Lorraine, whom the English burnt at Rouen'.
In 1462, and again in the following year, Villon is in gaol in Paris. On the second occcasion he is condemned to be hanged. This predicament prompts his extraordinary Epitaph, in the form of a ballad which Villon writes for himself and his companions waiting together to be hanged. He imagines in vivid detail their dead bodies drenched in the rain, bleached in the sun, picked at by crows and magpies, and he asks the living to pray that all men be spared the further torment of Hell. Villon's sentence is commuted to banishment. No more is heard of him. But an extraordinarily personal voice has made a brief and unforgettable appearance in literature, during eight years of the troubled 15th century.
Rabelais: 1532-1552 In 1532 there is published in Lyons the first volume of one of the strangest works in all literature. It has the title Pantagruel and the author is given as Alcofribas Nasier. This awkward name is an anagram of the altogether more believable François Rabelais. Rabelais' own picaresque life has brought him interests, influences and experiences as varied as those which inform his book. Born in the 1490s as the son of a well-todo lawyer, he is by 1520 a Franciscan friar. He subsequently travels widely as secretary to a rich abbot, transfers to the Benedictine order so as to study in Paris (a period in which he fathers two children), and finally abandons his monk's habit to become a physician.
Rabelais is employed as a doctor in Lyons from the summer of 1532. This is a period when the ferment of the Reformation and the humanist excitement of the northern Renaissance are alike at their peak, and Lyons is an important intellectual centre. The exciting themes of the day blend with Rabelais' own love of word play and fantasy. In French popular tradition Pantagruel is a devil whose duty is to put salt in the mouths of drunkards. Transformed by Rabelais into a giant, with a prodigious appetitite for food and drink, his exploits prove an ideal vehicle for his author's bubbling imagination. This first volume is sufficiently popular for a sequel, Gargantua (the story of Pantagruel's father), to be published in
1534.
There is no equivalent in the literature of Rabelais' time to the anarchic blend of the scholarly, the satirical and the scurrilous which characterizes these books. The nearest parallel is in the visual arts of northern Europe, where two eccentrics stand out in a similar fashion. The lifetime of Rabelais falls neatly between that of Hieronymus Bosch (40 years older) and Pieter Brueghel (25 years younger). He shares the surrealism of Bosch, the earthiness of Brueghel and the fantasy of both. In later literature his ability to make words dance in new patterns and shapes is echoed by James Joyce. His pursuit of ideas in wonderland is similar to that of Lewis Carroll.
Within a year of its publication Pantagruel is condemned by the Sorbonne as obscene, but this seems to do Rabelais no harm. When he is in Rome in 1535-6 he is granted a papal bull giving him the freedom to practise medicine and to return to the Benedictine order if he so chooses. In 1540 he presents a petition to the pope for his two children to be legitimized. A third book in the series of Gargantua and Pantagruel is published in 1546 and a fourth two years later (again condemned by the Sorbonne). The complete work is too complex, too discursive, too uneven to be read easily as a continuous whole. But it is a rich quarry which many have profitably mined.
Ronsard and the Pléiade: 1549-1553 Though elements of the Renaissance and of humanism pervade the work of Rabelais, the chaotic anarchy of his tumbling crowded canvas is also very medieval. The intellectual rigour of the Renaissance enters French literature in a more pure and self-conscious form in the work of Pierre de Ronsard and his circle. In 1549 Ronsard's friend Joachim du Bellay publishes a tract, entitled La Défense et illustration de la langue française, which is a manifesto for a new style of poetry. As at the start of the Renaissance in Italy, the intention here is to return to classical masters as a source of inspiration.
A group of seven poets, including du Bellay and Ronsard, become associated with the movement and are known in their own time as La Pléiade, a name given originally to seven distinguished poets in Alexandria (the Pleiades being a constellation of seven stars). Ronsard, the most talented of the seven, makes his name with short lyrical poems of polished elegance - particularly the Odes and Amours published between 1550 and 1553. The odes are intended to be sung with lute accompaniment as courtly entertainment. Ronsard subsequently occupies the position of court poet to the young French king Charles IX.
In the Amours Ronsard has an ideal love, Cassandre, similar to Petrarch's Laura but
more certainly a real character. She is Cassandre Salviati, the daughter of a Florentine banker living in France. Ronsard's relationship with Cassandre remains platonic, though his most famous poem to her (the Ode à Cassandre of 1553) urges her in effect to gather rosebuds while she may. Beginning Mignonne, allons voir si la rose (My love, let us see if the rose), the poet points out that the rose's exquisite petals have lost their sheen by the end of the day - and that her beauty, too, is not for ever.
Montaigne and the essay: 1571-1588 In 1580 there is published in Bordeaux a book by Michel de Montaigne with the simple title Essais. It is the first time that the word has been applied to a literary form, and it is used in the sense of 'trial' or 'experiment'. Essai is the standard word in modern French for the testing of a new product. In his essays Montaigne is testing his own opinions. He does so, famously, In his library in the third storey of a tower which he adds to his ancestral home at Montaigne, near Bordeaux, in 1571. He has trained as a lawyer, but soon after his father's death he retires to Montaigne and begins a life of reading, reflecting and recording the development of his thoughts in the form of essays.
In doing so, Montaigne not only invents a new literary form. He becomes the first man in history whose thought processes we can share, as ideas strike him and are
then modified - in many cases several times, when he returns to what he has written and adds to it. This literary venture seems to have started out as a commonplace book, which Montaigne gradually builds up to form the publication of 1580. These first essays are reprinted with additions in 1582. An edition of 1588 expands once again the original essays and adds more. For the rest of his life he continues to add marginal notes to his own copy of the 1588 volume (now in the public library of Bordeaux, where Montaigne serves as mayor from 1581 to 1585).
The result of this process is to lay bare to the reader the innermost thoughts of a man who in his honesty, and the acuteness of his perceptions, becomes interesting and sympathetic. Montaigne's essays are the precise opposite of a great diary, such as that of Samuel Pepys, where honesty is also essential. The diarist has to be honest in the heat of the moment. His words will charm later generations if he is vividly himself, even if on that particular day he is vividly greedy or lustful or vain. The essayist, by contrast, will convince only if his conclusions are convincing. A bigot may write an interesting diary, but not often a good essay.
Reason and classicism: 17th century
French writers of the 17th century are the first since classical times to grant absolute priority to the power of reason and the observance of aesthetic rules. A key figure in this development is René Descartes, a brilliant mathematician who
aspires to apply the rigour and clarity of mathematical proof to all aspects of life. Descartes' first quest is to improve the methodology of science. The medieval hotchpotch of ancient scientific theories still prevails (so much so that in 1633 Descartes prudently cancels publication of a book supporting the theory of Copernicus, on hearing the news from Italy of Galileo's experience on this issue at the hands of the Inquisition). He decides that it must be possible to find a coherent method which can be applied to all scientific enquiry.
Descartes publishes in 1637 his Discourse on the Method of properly Guiding the Reason in the Search for Truth in the Sciences. His approach is to use what he calls 'methodical doubt' to reduce the sum of knowledge about any topic to the minimum which can be known with certainty. When Descartes extends this principle into the realm of philosophy, he arrives at the central truth from which, he believes, the process of human reason must begin the certainty that if one is conscious, one exists. He sums this up in the Latin phrase cogito ergo sum (I think therefore I am). After Descartes, reason becomes the guiding principle of France's classical dramatists in the 17th century and of the philosophes in the 18th century.
Corneille and Racine: 1637-1677
In a remarkable forty years, from 1637 to 1677, the French theatre enjoys a succession of powerful tragedies from two playwrights, Pierre Corneille and Jean Racine. Both write within tight restrictions which are considered an essential part of the dignity of their art. The three Unities of action, time and place are carefully observed (the plot must
have a logical consistency and must be completed within a span of twenty-four hours in a single location). The text is entirely in rhyming couplets of twelve-syllable alexandrines, and there are other clearly defined rules. Violent events can only happen offstage. The vocabulary is limited, with frequently repeated poetic phrases - and definitely no vulgarity.
The first play in this style to be a huge success with the Parisian public is Corneille's Le Cid in 1637. The dramatic conflict concerns the love between Chimène, a high-born Spanish lady, and the youthful El Cid of legendary fame. Unfortunately a social slight offered by Chimène's father to El Cid's father makes El Cid honour-bound to seek satisfaction. He challenges Chimène's father and kills him. The rest of the play, developing a theme characteristic of all Corneille's subsequent tragedies, hinges on the conflict between duty and love. Chimène's duty to her father demands El Cid's death. Her love makes her yearn for him to live.
The ending of Le Cid is ambiguous. Our hero is called away to fight the Moors and there is a hope that time may solve the conflict. Usually in Corneille honour wins more convincingly, making his plays less sympathetic to modern audiences than those of his younger rival Racine. Racine's first runaway success, Andromaque, follows thirty years after Le Cid, in 1667. The framework and the rules of tragedy are still the same, but the ingredients have drastically altered. In Andromaque honour and duty hardly feature. Instead there is an insoluble quadrangle of unrequited love in the aftermath of the Trojan War.
Orestes loves Hermione who loves Pyrrhus who loves Andromaque, whose only concern is the safety of her young son whom Orestes is attempting to take into captivity and to almost certain death. This tangle offers as much opportunity for emotional bargain and blackmail as any late 20th-century play of sexual intrigue. Racine guides the relationships towards a tragic outcome in a series of brilliantly developed confrontations, often just between two characters - one of whose positions has usually shifted since the previous encounter.
Over the next ten years Racine produces a succession of powerful tragedies, often with female central characters who are overwhelmed by their emotions. This is true above all of the last of the series, Phèdre (1677), in which the heroine is consumed with lust for her stepson, Hippolyte. The raw drama of Phèdre, albeit within the classical convention, is too much for some in Racine's audience. But the mixed response to the play is probably not the reason for his retirement at this time from the theatre. More likely it is due to his marriage in 1677 and a new appointment as the king's official historian. But his ten main years as a playwright have produced an extraordinarily intense and finely honed body of work.
Molière: 1658-1673
One October afternoon in 1658 a small theatre company, headed by Molière, performs a Corneille tragedy for the 20-year-old Louis XIV and his brother Philippe, two years younger. The players follow the tragedy with a farce, written by Molière, about an amorous doctor. It greatly appeals to the two young men. The company is granted the patronage of Philippe, who two years later becomes the duke of Orlèans. This is a turning point in Molière's career. For the past thirteen years he and his company have led a difficult existence touring the provinces. But the experiences of those years enable Molière, as both actor-manager and author, to make the most of the new opportunities in Paris.
Until his death Moliére writes on average two or three plays each year for his company, with leading roles for himself. Since his central theme is ridicule of the pretensions and falsities of contemporary society, the plays involve him in almost permanent controversy. The first play to cause both delight and offence (a promising blend in any period) is Les Précieuses Ridicules in 1659. A modern translation of the title might be 'Ridiculous Trendies'. The play makes fun of two provincial ladies, arriving in Paris, who are so delighted by the affected manners of the capital that they lose all sense of reality.
Tartuffe (1664) is even more controversial, featuring a religious hypocrite who by an oily display of mock piety persuades a nobleman to entrust him with both his daughter and his property. The play is first performed before the king at Versailles, but opposition from the establishment delays the first public performance by several years.
To some extent Molière's comedy depends on breathing new life into stock comic characters such as L'Avare ('The Miser', 1668, based on a play of Plautus) or Le Bourgeois Gentilhomme (1670) about a man so eager to climh in society that he falls prey to every charlatan offering to help him. But Molière's dramatic skill makes the character, Monsieur Jourdain, sympathetic as well as ridiculous.
From 1666 Molière becomes increasingly ill, and his experience of doctors provides him with a new vein of comedy. In that year Le médicin malgré lui ('The doctor in spite of himself') features a character who is forced by the plot to masquerade as a doctor and then finds that he likes the role. Sganarelle, the amateur medic, has perhaps the most famous line in the whole of Molière. Holding forth about the heart, and its position on the right side of a patient's body, he receives a mild note of dissent from someone who thought it was supposed to be on the left. 'Yes,' he replies, 'but we've changed all that'.
In February 1673 Molière plays the central role in the first performance of Le malade imaginaire. Because Argan imagines himself to be ill, he is willing to submit to all the outrageous treatments proposed by his doctors - providing ample scope for satire on the medical profession. But during the fourth performance, a week later, illusion and reality become tragically blurred. Molière falls ill on the stage and dies later that night. All his life Molière has written words to be acted rather than read. He shows little concern for the publication of his plays. But their texts (some in prose, some in verse) guarantee him a place, with Corneille and Racine, in France's great trio of classic dramatists. Voltaire and the philosophes: 1726-1778
Though born within the 17th century, in 1694, Voltaire becomes - after a long life and a multifaceted career - the characteristic voice of the French 18th century. His early successes reveal an ambition to outdo literary giants of the past. When his
tragedy Oedipe is a great success, in 1718, he is hailed as the new Racine. His Henriade of 1723, an epic poem in praise of Henry IV, is a conscious attempt to become France's Virgil. But his lasting fame derives from his attack on the abuses of the present and his vision of a more rational future. In this respect his exile from France in 1726, after a quarrel with a powerful nobleman, proves something of a turning point.
Voltaire travels to England, where he is struck by a matter-of-fact frame of mind very different from the attitudes of France. In religion this results in Deism, an offshoot of the reasonable philosophy of John Locke; in social and political terms it seems to be expressed in a mercantile economy more open to new ideas and more capable of innovation than the feudal structures surviving in France. Voltaire is able to return to France in 1728. In 1733 he publishes in English, and in 1734 in French, his Lettres Philosophiques - twenty-four letters praising English religion, institutions and even literature as a means, primarily, of attacking the French equivalents.
The book provokes outrage and a warrant is issued for Voltaire's arrest - which he avoids only by escaping to the countryside. For the rest of his life, filled though it is with immensely varied literary activity, he is engaged in a crusade to reform the abuses of the French establishment (or the system which later becomes known as the ancien régime). Of these abuses he finds the influence of the Roman Catholic church, and in particular of the Jesuits, to be the most infamous. Écrasez l'infame ('crush the infamous') is his battle cry. In this campaign for reason against superstition, and for justice against privilege,
Voltaire is joined by a younger generation. Together they become known as the philosophes.
The greatest achievement of the philosophes is the Encyclopédie, edited by Denis Diderot and published in 28 volumes (17 of text, 11 of plates) between 1751 and 1772. This enterprise is originally inspired by Chambers' Cyclopedia, published in two volumes in London in 1728, but it far outdoes its model in scope and ambition. The Encyclopédie aims to be nothing less than a rational statement of contemporary knowledge and belief. It can be seen as the definitive statement of the ideas of the Enlightenment. Jesuit influence twice halts publication, but the project is successfully completed and acquires great influence - being often pointed to subsequently as an important part of the build-up to the French Revolution.
During the years when the Encyclopédie is being published a powerfully irrational event occurs. In 1755 an earthquake destroys much of Lisbon, killing many thousands. The disaster seems to mock the optimism which characterizes the rational 18th century. It prompts Voltaire to write the short satirical book, Candide (1759), which has proved the most lasting of his many works. Candide is a pupil of an optimistic philosopher, Dr Pangloss. They undergo the most appalling sufferings in a series of fantastic adventures, but nothing can dent Pangloss's often repeated conviction that 'everything is for the best in the best of all possible worlds'. It is not, says Voltaire - but if not best, it could at least be better.
The Enlightenment: 17th - 18th century
The term Enlightenment, applied to ideas which develop during the 17th century and are most clearly expressed by the 18th-century French philosophes, describes a tendency to make reason the guiding principle of life. This is accompanied by a conviction that the application of reason will guarantee progress in all aspects of human existence. In one sense this is yet another wave of reaction against the Middle Ages, when faith and authority are the prevailing themes. More positively it is an offshoot of 17thcentury science (the discoveries of Galileo and Newton being based on rational assessment of material evidence) and philosophy (following the example of thinkers such as Descartes).
The Enlightenment has faith in a natural order. Galileo and Newton have revealed the mechanics of the universe. These marvels of ethereal clockwork are taken by the Deists (the rational Christians of the day) as evidence of the genius of a rational creator. By the same token it is assumed that there is a natural structure for human society, in which individuals have both freedom and rights. The injustices visible everywhere in the world are seen as the result of corrupt and superstitious institutions, imposed by unenlightened priests and kings. But human resolution can transform the political scene, as is made evident in the confident assertions of the American Declaration of Independence.
It is an article of faith that in a rational society the people will choose what is good
for them. The Enlightenment abounds in educational theories to speed up the spread of reason. But the education of the people must inevitably be a long process. This practical problem is taken as justifying one slightly paradoxical aspect of the Enlightenment the acceptance of the enlightened despot, the all-powerful ruler who disregards the short-term wishes of his subjects and enacts, for their own good, often unpopular measures of social improvement. There are many such rulers in the last decades of the 18th century, Frederick the Great in Prussia being merely an early and outstanding example.
The passion of the Enlightenment for the improvement and reform of society makes it an important element of the climate of opinion which prevails in the early stages of the French Revolution (and survives today in the ideals of the social services of democratic nations). But such principles contain their own flaws. The Enlightenment's optimism can be a recipe for disappointment and is easily mocked (as by Voltaire himself in Candide). And too much reason is dry fare. People crave something more emotionally nourishing. This is provided in religious terms by the 18th-century revivalists. And the need to listen to the emotions is forcefully expressed by a child of the French Enlightenment, Jean-Jacques Rousseau.
Watchmakers' sons: 18th century
A favourite image of God, in the rational 18th century, is that of a divine watchmaker who has fitted together the intricate machinery of the universe. It is a pleasant historical irony that two French authors of great influence in the final decades of this most reasonable century are offspring of the watchmaking trade. The influence of Jean-Jacques Rousseau (son of a watchmaker of Geneva) is exerted
through dreaming of a better society than contemporary privilege-ridden France. That of Beaumarchais (son of a watchmaker of Paris) derives more directly from his brilliant mockery of those privileges.
Jean-Jacques Rousseau: 1742-1778
Rousseau, unlike Voltaire, is a late starter in terms of literary fame, and he writes his most influential works in a relatively short space of time. He is thirty when he arrives in Paris in 1742, hoping to win fortune and fame with a new system of musical notation. It brings him into the circle of the philosophes, for Diderot invites him to contribute articles on music for the Encyclopédie. Before these articles are printed, Rousseau wins himself a controversial reputation with his Discours of 1750 - in which he argues, contrary to prevailing fashion, that recent progress in the sciences and arts has had a corrupting effect on public morality.
The Discours is the first of several works which bring Rousseau wide fame and in which he tackles the central themes of the Enlightenment in a manner markedly different from that of the more conventional philosophes. His two most significant books appear in 1762 and result in an order for Rousseau's arrest, causing him to spend the next few years outside France. Émile is a tract on the ideal education of a boy. It offends the authorities because religion plays only a small part in it, and the Christian religion none at all. (The book's emphasis on the importance of exercise, cold baths and the avoidance of feather beds cannot be seen as grounds for arrest.)
The distinguishing feature of Émile is an insistence on developing the natural and emotional side of the child, in place of the intellectual training which derives from books. In this change of emphasis Rousseau reveals himself as a pivotal figure in the transition from the Enlightenment to the next prevailing intellectual fashion, that of the Romantic movement. A similar shift underlies the other work of 1762, Du Contrat Social (Of The Social Contract), in which Rousseau exposes the ills of modern society not by directly attacking them, as the philosophes would, but by imagining a different and better kind of community.
Rousseau's utopia is similar to a Greek city-state without the slaves. It has a romantic appeal in class-ridden 18th-century France because its theme is the importance of the individual, without whose consent (in a social contract) no society can function. The magnificent opening sentence encapsulates this appeal ('Man was born free, and everywhere he is in chains'). It also betrays the world of the dreamer, for only in the most fanciful sense is the hunter-gatherer in a primitive tribe free. Rousseau rounds off the image of the early romantic with Les Confessions, an autobiograpy published after his death in which he presents himself in unsparing and perhaps often exaggerated - psychological detail.
Beaumarchais: 1775-1784
One of the theatre's most engaging characters bursts upon the stage in 1775 in a light comedy which is immediately a great success. Figaro, or Le Barbier de Séville (The Barber of Seville), is witty and street-wise in a manner very similar to his creator, Pierre-Augustin Caron de Beaumarchais. Beaumarchais' life begins with ingenuity and intrigue. At the age of nineteen, in 1751, he invents a new escapement for watches (watch-making being his father's trade). Another watchmaker attempts to steal the new idea. Beaumarchais' skilful conduct in the resulting litigation brings him the attention and patronage of the court.
For the rest of his life, until his death in 1799, Beaumarchais leads a dramatic and often dangerous existence as an entrepreneur and then as a secret agent on behalf of the French government. He is so busy with his schemes that his main love, the theatre, seems almost a sideline. But with the first appearance of Figaro, in 1775, he suddenly becomes France's leading dramatist. Figaro uses his manipulative skills in The Barber of Seville to help the count Almaviva in his amorous pursuit of Rosine. The comic opportunities derive from the frantic efforts of Rosine's guardian, Bartholo (a crusty old doctor with designs on her himself), to keep the girl away from the attentions of any possible rival.
The success of these characters' first light-hearted appearance before the public prompts Beaumarchais to revisit them in a much darker comedy. By the time of Le Mariage de Figaro the count and Rosine have been married a few years. The count is tired of her and is intent on seducing her maid, Suzanne. But Suzanne is engaged to Figaro, now in the count's employment. The clash of interest between Figaro and his master is developed on the suface in the traditions of light comedy or even farce, with much use of hasty concealment and mistaken identity. But underlying the fun is a more threatening theme. The count behaves with the arrogance of the old feudal world. Figaro protests with the vigour of something new.
In a long soliloquy in the final act Figaro muses about his rival the count and finds him a Man of little worth, apart from the benefit of the silver spoon in his mouth when he was born. Not surprisingly, when the play is first scheduled for production in 1781, the king bans it. He relents in 1784, when it is performed with great and immediate success - just five years before the outbreak of the French Revolution. Napoleon later describes the play as 'the revolution in action'.
Beaumarchais is fortunate that his two great comedies are transformed, by Rossini and Mozart, into two superb operas. Figaro would have lived in prose alone. But with such arias to his name, he has proved irrepressible. This History is as yet incomplete.
The Hunchback of Notre-Dame (French: Notre-Dame de Paris) is a French Romantic/Gothic novel by Victor Hugo, published in 1831. The original French title refers to Notre Dame Cathedral, on which the story is centered. English translator Frederic Shoberl named the novel The Hunchback of Notre Dame in 1833 because at the time, Gothic novels were more popular than Romance novels in England.[1] The story is set in Paris, France in the Late Middle Ages, during the reign of Louis XI.
