#Philippe le long

[cy-lindric]

The Accursed Kings in 1314

[coquelicoq]

if you're wondering what the big deal is about the louis-philippe sentence in les misérables, it is, in the original french, 760 words long. the subject of the sentence doesn't appear until 95% of the way through, at word #711; the main verb is word #712. the sentence contains 91 commas and 49 semicolons and is almost entirely a list of laudatory adjectival phrases describing the erstwhile king of france. this is perhaps especially notable because les mis is, shall we say, not known for being particularly gung-ho about the monarchy.

this sentence copied and pasted into Word takes up more than one page single-spaced. in the 1800-page folio classique edition, it is fully two and a half of those 1800 pages. that means that les mis is 0.14% this single sentence. more of les mis is made up of this sentence than earth's atmosphere is made up of carbon dioxide (0.04%). if the page count of les mis stayed the same but every sentence was the length of this one, les mis would consist of only 720 sentences total.

incidentally, guess who named hugo a peer of france 17 years before the publication of les mis?

[sir20]

"Le Nuage" is departing, Montpellier by sir20

[ourstaturestouchtheskies]

Historical Portraits of Children // The Truth is a Cave – The Oh Hellos

Four Children Making Music – attributed to the master of the Countess of Warwick, 1565 // Three Children with a Dog or Two Sisters and a Brother of the Artist – Sofonisba Anguissola, 1570-1590 // The Children of Philip III of Spain (Ferdinand, Alfonso, and Margarita) – Bartolomé González y Serrano, 1612 // Three Children with a Goat-Cart – Frans Hals, 1620 // The Balbi Children – Anthony van Dyck, 1625-1627 // The Three Eldest Children of Charles I – Anthony van Dyck, 1635-1636 // Five Eldest Children of Charles I – Anthony van Dyck, 1637 // Portrait of the Children of Habert de Montmor – Philippe de Champaigne, 1649 // Group Portrait of Charlotte Eleonora zu Dohna, Amalia Louisa zu Dohna, and Friedrich Christoph zu Dohna-Carwinden – Pieter Nason, 1667 // The Graham Children – William Hogarth, 1742 // Portrait of Sir Edward Walpole’s Children – Stephen Slaughter, 1747 // The Bateson Children – Strickland Lowry, 1762 // The Gower Family: The Five Youngest Children of the 2nd Earl Gower – George Romney, 1776-1777 // Marie-Antoinette de Lorraine-Habsbourg, Queen of France, and Her Children – Élisabeth Louise Vigée Le Brun, 1787 // The Marsham Children – Thomas Gainsborough, 1787 // The Oddie Children – William Beechey, 1789 // Three Siblings – Johann Nepomuk Mayer, 1846 // Happy Children – Paul Barthel, 1898 // My Children – Joaquín Sorolla, 1904 // The Truth is a Cave – The Oh Hellos

[hedgehog-moss]

do you ever read scifi or fantasy in french? i am trying to read more sff that was originally published not in english but it's not easy to find 💀

I do! It’s not my favourite genre but one of my friends loves it so I read a bunch of SFF books every year ahead of her birthday to try and find a gift for her. I’m glad I do this because it’s allowed me to discover N.K. Jemisin’s Broken Earth trilogy which was amazing, and I don’t know if I would have picked it up otherwise!

Here are some French-language authors I’ve read or plan to read (unfortunately English translations are few and far between :( I bolded the names for which I found English translations—if you read in another language you can check out the non-bolded authors, there are often translations available in other languages long before English ones)

When it comes to classics you've got Pierre Boulle (Planet of the Apes of course; also Garden on the Moon, which is (deservedly imo) less known), Jacques Spitz (La Guerre des mouches—it was translated but not into English), René Barjavel (The Ice People, Ravage, Future Times Three—I read them a long time ago but I remember them as very sexist even by French classic standards), Bernard Lenteric (La nuit des enfants rois), Alain Damasio (La Horde du Contrevent—maybe too recent to be a classic but it’s everywhere. I was surprised to find no English translation!), Bernard Werber (I feel like he rehashes the same 3 ideas again and again but some of his earlier stuff was fun), Alexandre Arnoux (Le règne du bonheur), Jules Verne of course, Stefan Wul (Oms en série which was adapted into the film La Planète sauvage—Fantastic Planet in English. I like the film better!) And some I haven’t read: Georges-Jean Arnaud, Serge Brussolo (I liked his Peggy Sue series when I was in middle school but it spooked me so much I haven’t dared to pick up any of his SFF for adults, like Les semeurs d’abîmes), Élisabeth Vonarburg.

Newer authors: Estelle Faye (L’arpenteuse de rêves, Un éclat de givre—I tend to like her worldbuilding more than her plots); Sandrine Collette (The Forests—if you count speculative fiction as SFF) (I didn’t like it at all personally but others might), Jean-Philippe Jaworski (I really liked Janua Vera; didn't like Gagner la guerre but it was mainly because I have a low tolerance for rape scenes in fantasy books) (he’s about to be translated into English according to his editor), Stéphane Beauverger (Le déchronologue)

More authors I haven't yet read: Pierre Pevel (The Cardinal's Blades—I've been told it's "17th century Paris with dragons"), Romain Lucazeau (Latium), Laurent Genefort (Lum’en), Christian Charrière (La forêt d’Iscambe), Roland Wagner (La saison de la sorcière), Aurélie Wellenstein (Mers Mortes—I love the synopsis for this one), Magali Villeneuve (La dernière Terre, trilogy)

And non-French, non-anglo SFF authors: Maryam Petrosyan (my review of the Gray House last year was that I understood maybe 1/3 of it but I liked it anyway!), Hao Jingfang (haven’t read her yet), Arkady & Boris Strugatsky (idem), Jaroslav Melnik (I’ve read Espace lointain (originally Далекий простір) but didn’t like it much), Andreas Eschbach (The Carpet Makers), Walter Moers (I read The City of Dreaming Books back when I was still learning German and found it very charming), Liu Cixin (I loved The Three-Body Problem but The Dark Forest was so sexist it made me not want to pick up the third volume), Lola Robles (El informe Monteverde, translated as Memoirs of an Interstellar Linguist), Elaine Vilar Madruga (Fragmentos de la Tierra Rota), Tatiana Tolstaya (The Slynx), Karin Tidbeck (Amatka), Emmi Itäranta (Memory of Water, The Moonday Letters), Angélica Gorodischer (I’ve read Kalpa Imperial and found it only so-so but it always takes me a while to warm up to characters or a setting so I struggle with short story collections. I’ll still give Trafalgar a try) Also my favourite fantasy book as a kid was Michael Ende’s Neverending Story, I was obsessed with it. I re-read it in the original German a few years ago and it was still great.

[dreamconsumer]

The last kings and queens of the Capetian dynasty.

[poniatowskaja]

Just how happy Jeanne’s marriage to Philip was is impossible to say. It was certainly more prolific than those of Philip’s brothers. Philip and Jeanne had their first child, a daughter Jeanne, in May 1308, and before the spring of 1313 at least three other daughters. In contrast, Louis and Marguerite had no children before a daughter Jeanne was born on 28 January 1312. Charles and Blanche at some point had a son and a daughter, but neither is known to have been born before January 1314. Whatever the significance of the number of children Philip and Jeanne produced, Jeanne’s relationship with her husband survived the adultery scandal that engulfed the royal court in the spring of 1314. Unlike her sisters-in-law, Marguerite and Blanche who were imprisoned as adulteresses at Château-Gaillard, Jeanne largely escaped its consequences. Although the censorious Philip the Fair had Jeanne confined at the castle of Dourdan, she was judged, found innocent, and liberated after Philip the Fair’s death on 29 November 1314. She was reunited at once with her husband, and her mother Mahaut of Artois later testified that from this time on the couple lived together ‘in good peace, concord, agreement, and love, without strife, rancor, or hatred’. Such feelings as Mahaut attributed to Philip and her daughter would go far to explain Philip’s generosity to Jeanne. But it is not clear that her words are trustworthy. What else would Mahaut have said of a daughter who had reigned as queen of France – particularly when she was defending herself against charges of using potions to bewitch her son-in-law? Just how Philip and Jeanne felt about each other is obviously impossible to determine. Philip often waxed eloquent about his sentiments toward Jeanne, but many of his statements are formulaic. He repeatedly referred to the ‘sincere [or magne] dilectionis affectum’ which she bore him,  to the ‘faithful and natural congress [societas]’ and the devotion by which ‘his most beloved wife’ was bound to him, as well her constant efforts to please him. In January 1320, he mentioned her free and considerate services, honours, and courtesies, and the most faithful union she had carefully observed with him. In his preamble to the testament his wife completed on 27 August 1319, Philip himself declared that ‘nous amons de tout nostre Cuer & desierrons la salu de lame de le’. This is touching, but the statement can be read to mean not that Philip loved his wife with all his heart and desired her soul’s salvation, but rather that with all his heart he loved her soul and desired its salvation. These statements, in short, have no real bearing on the question of whether Jeanne was indeed guilty of adultery, and whether her husband took her back because she was countess of Burgundy and he feared to lose the county if he abandoned her.  This seems to me unlikely – although it is not impossible. Philip may have loved his wife deeply, or feared her, or been bewitched by her – for whatever reason, he showered her with gifts, whose extravagance is exceptional and impressive.

Elizabeth A. R. Brown, 'The King’s Conundrum: Endowing Queens and Loyal Servants, Ensuring Salvation, and Protecting the Patrimony in Fourteenth-Century France' in John Anthony Burrow and Ian P. Wei (eds), Medieval Futures: Attitudes to the Future in the Middle Ages, 134-138

[pureanonofficial]

LES MIS LETTERS IN ADAPTATION - Louis Philippe, LM 4.1.3 (Les Miserables 1972)

The son of a father to whom history will accord certain attenuating circumstances, but also as worthy of esteem as that father had been of blame; possessing all private virtues and many public virtues; careful of his health, of his fortune, of his person, of his affairs, knowing the value of a minute and not always the value of a year; sober, serene, peaceable, patient; a good man and a good prince; sleeping with his wife, and having in his palace lackeys charged with the duty of showing the conjugal bed to the bourgeois, an ostentation of the regular sleeping-apartment which had become useful after the former illegitimate displays of the elder branch; knowing all the languages of Europe, and, what is more rare, all the languages of all interests, and speaking them; an admirable representative of the “middle class,” but outstripping it, and in every way greater than it; possessing excellent sense, while appreciating the blood from which he had sprung, counting most of all on his intrinsic worth, and, on the question of his race, very particular, declaring himself Orleans and not Bourbon; thoroughly the first Prince of the Blood Royal while he was still only a Serene Highness, but a frank bourgeois from the day he became king; diffuse in public, concise in private; reputed, but not proved to be a miser; at bottom, one of those economists who are readily prodigal at their own fancy or duty; lettered, but not very sensitive to letters; a gentleman, but not a chevalier; simple, calm, and strong; adored by his family and his household; a fascinating talker, an undeceived statesman, inwardly cold, dominated by immediate interest, always governing at the shortest range, incapable of rancor and of gratitude, making use without mercy of superiority on mediocrity, clever in getting parliamentary majorities to put in the wrong those mysterious unanimities which mutter dully under thrones; unreserved, sometimes imprudent in his lack of reserve, but with marvellous address in that imprudence; fertile in expedients, in countenances, in masks; making France fear Europe and Europe France!

Incontestably fond of his country, but preferring his family; assuming more domination than authority and more authority than dignity, a disposition which has this unfortunate property, that as it turns everything to success, it admits of ruse and does not absolutely repudiate baseness, but which has this valuable side, that it preserves politics from violent shocks, the state from fractures, and society from catastrophes; minute, correct, vigilant, attentive, sagacious, indefatigable; contradicting himself at times and giving himself the lie; bold against Austria at Ancona, obstinate against England in Spain, bombarding Antwerp, and paying off Pritchard; singing the Marseillaise with conviction, inaccessible to despondency, to lassitude, to the taste for the beautiful and the ideal, to daring generosity, to Utopia, to chimæras, to wrath, to vanity, to fear; possessing all the forms of personal intrepidity; a general at Valmy; a soldier at Jemappes; attacked eight times by regicides and always smiling. Brave as a grenadier, courageous as a thinker; uneasy only in the face of the chances of a European shaking up, and unfitted for great political adventures; always ready to risk his life, never his work; disguising his will in influence, in order that he might be obeyed as an intelligence rather than as a king; endowed with observation and not with divination; not very attentive to minds, but knowing men, that is to say requiring to see in order to judge; prompt and penetrating good sense, practical wisdom, easy speech, prodigious memory; drawing incessantly on this memory, his only point of resemblance with Cæsar, Alexander, and Napoleon; knowing deeds, facts, details, dates, proper names, ignorant of tendencies, passions, the diverse geniuses of the crowd, the interior aspirations, the hidden and obscure uprisings of souls, in a word, all that can be designated as the invisible currents of consciences; accepted by the surface, but little in accord with France lower down; extricating himself by dint of tact; governing too much and not enough; his own first minister; excellent at creating out of the pettiness of realities an obstacle to the immensity of ideas; mingling a genuine creative faculty of civilization, of order and organization, an indescribable spirit of proceedings and chicanery, the founder and lawyer of a dynasty; having something of Charlemagne and something of an attorney; in short, a lofty and original figure, a prince who understood how to create authority in spite of the uneasiness of France, and power in spite of the jealousy of Europe.

[nesiacha]

Thank you, Elisabeth Le Bas!

Thank you for these touching memoirs. Her modesty also moved me, as she is clearly one of those women behind the scenes who encouraged their revolutionary husbands, who would not have been as effective without them. She possesses an extraordinary strength of character and integrity that many men should have been inspired by instead of placing their individual interests first. The revolution could have been saved (no need to specify who I am targeting here). Although her memoirs may at first seem to portray a woman who simply supports those she loves, it is actually much deeper than that. She attended political debates with Charlotte Robespierre, showing that they were far more politically engaged than they appeared. By the way, I have a theory about Philippe Le Bas based on an excerpt from Elisabeth Le Bas:

"It was the day when Marat was borne in triumph to the Assembly that I saw my beloved Philippe Le Bas for the first time.

I found myself, that day, at the National Convention with Charlotte Robespierre. Le Bas came to greet her; he stayed with us for a long time and asked who I was. Charlotte told him that I was one of her elder brother’s host’s daughters. He asked her a few questions about my family; he asked Charlotte if we came to the Assembly often, and said that on a particular day there would be a rather interesting session. He urged her to come to it."

I haven’t found any evidence that Le Bas defended the rights of womens citizens (I hope I’m wrong because I really like him as a revolutionary, so feel free to correct me). Yet, I have no valid reason to doubt what he said to Charlotte Robespierre about encouraging these two women to attend a session of the Assembly. I get the impression that Le Bas was one of those men who valued women’s political opinions, had no problem with them attending political sessions, but didn’t see the point of them participating more actively in political life. I imagine he had no objections to discussing it privately with Elisabeth.

Philippe and Elisabeth Le Bas form such a touching couple (I almost applauded when they were finally able to marry), and I really liked that, together with Henriette Le Bas (another woman who is too unknown in the revolution, but fortunately Tumblr is here to bring them out of the shadows), she accompanied her husband and Saint-Just (she was one of the many women who accompanied the revolutionaries on their missions, like Charlotte Robespierre, Sophie Momoro, etc.).

I also really appreciated the relationship she had with Eleonore Duplay, where we also see the courage of her sister in adversity. Paradoxically, it’s in Elisabeth Le Bas’s memoirs that I began to appreciate Charlotte Robespierre. Charlotte Robespierre’s memoirs contain quite a few inaccuracies, as other Tumblr users have pointed out, and I thought to myself, it’s impossible, she’s way too “saintly,” I don’t believe it for a second (not to mention that she comes across as too apolitical, but I imagine those who helped write the memoirs didn’t want a thinking woman). Here, thanks to certain passages from Elisabeth and what we know from the Mathons, we have proof that she is certainly not a saint (no one is), but she’s not a heartless, toxic, or selfish woman as I’ve seen (not on Tumblr but on other forums, where they oddly bash Robespierre but blame Charlotte for disowning her brother; those who say these things are inconsistent, plus I’d like to see how they would have reacted if they had faced the same threat as Charlotte). She is a woman with touching qualities (like her kindness towards Elisabeth, her desire to accompany her brother on a mission, when she designated Mademoiselle Mathon as her heir, or that at the end of her life, she wanted to rehabilitate her brothers) but also with weaknesses (I would start with her completely inaccurate memoirs, I think the disagreement between Madame Duplay, Eleonore, and Charlotte involved shared faults, just like the dispute between Augustin and Charlotte, especially the letter Augustin wrote to Maximilien about Charlotte, etc.). Thanks to Elisabeth Le Bas’s memoirs, Charlotte Robespierre is neither a monster nor a too-perfect being, she is just a human being. By the way, I don’t blame her for disowning her family name and her brothers temporarily because the danger could have been real. She was a civilian who didn’t seek trouble, and in that respect, it was trouble (more precisely, the Thermidorians) that came to her. I also don’t blame her for asking Bonaparte for a pension and continuing to receive one under Louis XVIII because life for a single woman was very hard at that time. It took extraordinary strength of character to avoid doing all that, and not many people had it. Where I do criticize Charlotte Robespierre is for embellishing the reality concerning her in her memoirs.But it was very sad that she was not able to reconcile with her brothers especially Augustin before she died because none of them seem toxic to me. If France and the revolution had no longer been in danger, if they had survived, I think they would have reconciled, but I can't speak for them.

Returning to Elisabeth’s memoirs, I smiled when she idealized the revolutionaries she was close to, like the Robespierre brothers or Saint-Just, although after recognizing many of his qualities, she said he could sometimes be severe due to his great love for the country and the revolution. But it’s normal that she idealized them and defended them loyally because she was simply being loyal to the revolutionary struggles they were leading and in which she believed, even though it would have been good to see their flaws in her memoirs. Memoirs are always subjective, even from an honest person like Elisabeth Le Bas. Despite everything, she is attached to her country and is capable of making a judgment when she says in the excerpt, “Nevertheless, he needed to leave; Robespierre, who had great confidence in Le Bas because he knew his wise and prudent character well, had chosen him to accompany Saint-Just, whose burning love of the patrie sometimes led to too much severity, and who had a tendency to get carried away.” On the other hand, what troubles me about this statement is that normally, a person is not sent on a mission based on the will of just one other person; it usually requires the majority of votes within the CPS or the CSG (sometimes in the Convention). But we see that Elisabeth stays in the background yet makes a thoughtful political judgment to better safeguard the endangered French Revolution.

However, I didn’t like that Elisabeth constantly put herself down by describing herself as scatterbrained when everything indicated that she was not. I was saddened by the tragic fate of Philippe Le Bas, even though we all knew it was inevitable. At least they were able to say goodbye. At least he died before seeing the tragic outcome of the revolution. I found Madame Duplay’s death unfair. Poor Duplay family, who went through one tragedy after another but found the strength to bounce back. I admired Eleonore for helping Elisabeth during her most tragic moments in prison. I applauded when Elisabeth Le Bas showed astonishing courage in front of her adversaries from prison to her release. She never asked for anything and displayed extraordinary strength.

Even though I wouldn’t have blamed her for abandoning the revolution to survive with her son in such difficult times, she didn’t do it, whereas some “revolutionaries” greedy for their wallets destroyed the revolution, endangered France, and undermined the revolutionary people's efforts for social progress that had begun since 1789. The obligation of loyalty to the revolution that deputies like Fouché, Barras, or a general named Bonaparte should have respected was found in the daughter and wife of an authentic revolutionary (especially in the worst moments). Honor to her (and to the many men and women like Elisabeth) and shame on all those greedy ones (I must admit that my language is blunt and could be more nuanced if making a historical judgment, but I’m more in the realm of value judgment, so I feel I can allow myself some liberties, sorry for the fans of theses characters it's only my view).

On a more positive note, thank you, Elisabeth Le Bas, for fighting against this all-too-common black legend of the revolution through your memoirs.

Thank you for your journey as a fighter. If only the greedy deputies I mentioned earlier had a quarter of your integrity and courage and remembered that they were there to serve the people, as they are in their positions solely because of the people and thanks to them, the revolution would surely have lasted longer.

Thank you, Elisabeth, for all you did with so many others. May your life serve as an example and a source of strength for us.

[oldbookist]

how to make readers think you're an expert on 19th century france

or quick and dirty tricks for writing canon era, because sometimes you just need a convincing historical backdrop for your angsty one shot.

Be specific about your time period! It may seem counterintuitive, but picking a specific year for your fic to take place in actually makes the research part easier. Even if the year isn't relevant at all to the plot and won't be mentioned. Let's say I need to add a political debate to my fic for plot purposes, but I've got no clue what to make them argue about. I'll pick 1828 as my year. I can just pull up the Wikipedia page for "1828 in France" and under "Events" it tells me that there was a new prime minister that year. Wikipedia says he was a more moderate royalist that replaced an ultra-royalist...a perfect topic for debate!

In fact, want to sound really knowledgeable? Sure, you could always have your characters complain about the king, but consider having them talk about the prime minister instead. (eg. Down with Polignac!) The ministers and their governments were powerful but not usually long-lasting or especially popular during this time period. Presumably, Enjolras hated all of them.

...and if you do mention the king, be specific! Louis XVIII, Charles X, or Louis-Philippe? Again, this is easily done by simply knowing what year it is.

Just talking about "The Cause" or "Revolution" (generic) makes it sound like you don't quite know exactly what you're talking about. Luckily, even if that's true, there's an easy fix. Use "the Republic" instead. (That's what "The Cause" is, and what the "Revolution" is for.) Also, unless they're actively revolutioning, it's generally better to refer to Les Amis as "republicans" instead of "revolutionaries," as republicanism is their actual political ideology.

The July Revolution of 1830 is a thing that happened. This is a useful event to reference. Use it to your advantage.

Just namedrop! Look up some operas or books that came out that year. Find some French Romantic authors Prouvaire could be reading. I'll admit it, I'm easily impressed when a fic references Lamartine or Hernani or whatever.

Don't use the word "homosexual." Didn't exist yet. Also, sodomy was decriminalized during the French Revolution...it's a whole complicated thing, but it is not illegal in our time period.

Make them do activities other than writing pamphlets? Writing pamphlets is a time-honored staple of canon era fic. Still, that doesn’t mean we can’t occasionally branch out. Some suggestions: recruitment, mutual aid, posting bail, gathering arms and ammunition, also Les Amis are outwardly a society for “the education of children”!

This is obviously not an exhaustive guide to writing canon era. You might notice that much of this advice boils down to “be more specific,” which is really the trick to seeming knowledgeable. The more specific you can be, the better it’s going to sound. If you do want to do more in-depth research, check out my resource collection!

[cuddlytogas]

it's possible I made an extended playlist to give context to the classical (non-technically speaking) music in OFMD, with the pieces listed in historical/chronological order, and in the context of their full pieces (mostly - I'm not literally going to put entire operas on there, but symphonies and concertos have mostly been finished)

and it's possible that that playlist is ten hours long

and it's possible you can find it on spotify right now, and that below the cut is the full chronology

(edit: corrections welcome btw!!!! i am by no means a music historian, nor have any higher level music education, just a lifelong association and interest <3 if you know better than me, PLEASE let me know so it can be more accurate!)

N: most of the Vivaldi pieces don't really have any dates I could find, so they're just sort of scattered through the first few decades of the 18th century. and yes, technically the opening Corelli isn't in there, but I think putting another La Folia in is important for the context of s2!

1700 - Arcangelo Corelli, Violin Sonata in D Minor, Op 5 No 12 "La Follia"

1703-6 - George Frederic Handel, Keyboard Suite No 4 in D Minor, HWV 437

? - Antonio Vivaldi, Cello Concerto in G Minor, RV 416

1711 - Antonio Vivaldi, Concerto No 11 in D Minor for Two Violins and Cello RV 565

1715 - Georg Philipp Telemann, Sonata for Violin and Basso Continuo in G Major TWV 41:G1

1718-20 - Antonio Vivaldi, The Four Seasons, Violin Concerto in G Minor Op 8

Early/mid C18 - Domenico Scarlatti, Keyboard Sonata in F Major, K 107

? - Antonio Vivaldi, Oboe Concerto in C, RV 452

1720s? - Antonio Vivaldi, Concerto for Two Cellos in G Minor, RV 531

1727 - Johann Sebastian Bach, Ich steh mit einem Fuß im Grabe, BWV 156

1725-35 - Georg Philipp Telemann, Concerto for Recorder and Viola da Gamba in A Minor TWV 52:a1

? - Antonio Vivaldi, Concerto in G Minor, RV 576

1730 - Johann Sebastian Bach, Orchestral Suite No 3 in D Major, BWV 1068

? - Antonio Vivaldi, Piccolo Concerto in A Minor, RV 445

? - Antonio Vivaldi, Trio Sonata in D Minor, RV 63, 'La Follia'

1738 - Johann Sebastian Bach, Harpsichord Concerto No 4 in A Major, BWV 1055

1738-9 - Johann Sebastian Bach, Concerto for Harpsichord, Strings, and Continuo No. 5 in F Minor, BWV 1056

Early/mid C18 - Domenico Scarlatti, Keyboard Sonata in E Major, K 380

1741 - Johann Sebastian Bach, Goldberg Variations, BWV 988

1747 - Johann Sebastian Bach, Musical Offering, BWV 1079

1747-8 - George Frederic Handel, Concerto in F Major, No 16, HWV 305a

1773 - Mozart, Symphony No 25 in G Minor, K 183

1782 - Mozart, String Quartet No 14 in G Major, K 387

1795 - Beethoven, Piano Sonata No 2 in A Major, Op 2 No 2

1792 - Beethoven, Piano Sonata No 3 in C Major, Op 2 No 3

1780 - Mozart, Symphony No 34 in C Major, K 338

1786 - Mozart, Le nozze di Figaro (excerpts)

1810? - Beethoven, Bagatelle in A Minor, WoO 59: Für Elise

1811-12 - Beethoven, Symphony No 7 in A Major, Op 92

1826 - Franz Schubert, Ständchen (Serenade) "Horch, horch, die Lerch!" D 889

1827 - Franz Schubert, 4 Impromptus, Op 90, D 899

1833-4 - Felix Mendelssohn, Lieder Ohne Worte, Book 2, Op 30

1835 - Frédéric Chopin, 12 Études, Op 25 (excerpts)

1838 - Robert Schumann, Kinderszenen, Op 15 (excerpts)

1838 - Franz Liszt, arr., 12 Lieder von Franz Schubert, S 558, No 9

1842 - Frédéric Chopin, Waltz No 12 in F Minor, Op 70, No 2

1871 - August Wilhelmj, arr., Air on a G String

1874 - Giuseppi Verdi, Messa da Requiem (excerpts)

1878 - Antonín Dvořák, String Sextet in A Major Op 48

1888-91 - Claude Debussy, Two Arabesques, L 66

1890 - Claude Debussy, Rêverie, L 68

1888, 89, 90 - Erik Satie, Trois Gymnopédies, Gnossienne No 5, Trois Gnossiennes

[chicinsilk]

"Jolie Madame du Printemps".

Pierre Balmain Haute Couture Collection Spring/Summer 1955. Diana Jones wears "Agathe", a navy blue wool dress, with long sleeves, draped over the hips and ending with a yoke at the back. Wurmser wool.

Pierre Balmain Collection Haute Couture Printemps/Été 1955. Diana Jones porte "Agathe", robe en laine bleu marine, aux manches longues, drapée sur les hanches et se terminant par un empiècement au dos. Lainage de Wurmser.

Photo Philippe Pottier

[aloysiavirgata]

Have you ever written a historical AU? Would love to see what you would do with that!

“Le professeur n'est pas à la maison!” she calls to whomever is banging at the door.

“S’il te plait je suis perdu,” a man’s voice replies in an accent she can’t place. Not French, certainly.

Dana rises, annoyed, from a table stacked high with books. She’d been lost in Bayes’ recent essay on probability, which her father had bought her.

She makes her way to the door, assumes Marie-Amélie is behind the house with Victor’s hand up her dress again.

Through the window she sees the man claiming to be lost. He’s about her own age, tall, wearing a suit of clothes in the English style. His hair is dark brown, tied at the nape of his neck with a green ribbon.

He looks unhappy and his boots are quite muddy.

Dana grabs the fire poker she keeps next to the door for this purpose. She keeps it tucked in the folds of her dress.

“Good day,” she says in English.

The man startles. “You speak English?”

She grips the poker tighter. “Pray, how can I help you? The professor is not home right now.”

He frowns. “Professor? I’m sorry, I’m not here for any professor. It’s only that I came out to see the country and I’ve…well. I’ve lost my way.”

Dana decides that if she needs to run him through she’d rather it be on her home turf. His clothes, while plain by French standards, are of fine stuff and newly made. His boots are well soled, his breeches have silver buckles.

“Come in,” she says, and lets him pass her. She returns the poker to the wall, then closes the door.

“You’re not English,” he observes, peering around.

“God forbid,” she says, crossing her arms. “Irish.”

He grins at that. “Well, we’ve something in common then. I’m a Massachusetts man. Oh, forgive me. Name’s Fox Mulder.” He pulls a much-abused envelope from his pocket. “Letter of introduction, if you care to peruse.”

She takes the letter but doesn’t open it.

Victor emerges from the kitchen. He has the audacity to look scandalized that she is alone with a strange man even though there is hay dust on his breeches.

“Mademoiselle Dana!” he says.

She shoos Victor back to the kitchen for refreshments. “We’re very informal here, Monsieur Mulder.”

“Just Mulder,” he says.

“Mmm. Where did you say you were staying?”

“I didn’t, but in Florac.”

Dana frowns. “Monsieur, you traveled all the way from Massachusetts to stay in…Florac? And pray, sit.” She gestures at a sofa, sits in the chair opposite.

Mulder, looking grateful, complies.

Marie-Amélie arrives with a tray of cake and wine, curtsies, and scampers back to the kitchen.

Dana scowls after her.

“I’m in Florac only as a base of operations, you could say. I’m here to do some…investigating.” He sips his wine.

She is intrigued despite herself. Bayes can wait a bit longer. “Investigating?”

He tips his chin up a bit, as though preparing for a reaction from her. “The Beast of Gévaudan,” he says.

She stares, then lets out a bark of laughter. “La Bête?” she says. “It’s a wolf!”

“They say it has a breast as wide as a horse, a body as long as a leopard's, and fur that was red with a black stripe. What wolf is that, Mademoiselle?”

She rolls her eyes. “When I was a lass I thought the barn owls were the bean-sídhe keening.”

Mulder delicately pokes at a walnut on his slice of cake. “Wolf or no, people are dying.”

“Aye, now that’s a thing people are good at around here.” She sets her wineglass down. “When you’re finished I’ll have Philippe drive you back to the village.”

“That’s very kind,” he says. He sets his plate down. “I’m ready now.”

“I need to return to my studies,” she tells him, waving over the maid. “I hope you find what you’re looking for.”

Dana leaves her guest with Marie-Amélie. She hears the door open and close, and soon the strange man from Massachusetts is forgotten amid the doctrine of chance.

[chaotic-history]

Outside of V and Emile/Fritz what’s your fav relationship V has?

Ok I warned you that this was going to be a long answer, and idk if you meant specifically a romantic relationship, but I'm going to pretend that you didn't so that I can yap about my absolute favorite V relationship, which was with Claude Philippe Fyot de la Marche. And I have to yap about it extra since only one bio I've read has ever mentioned him, and even then, it was only to get facts wrong about him :/ (thanks Pearson).

V and la Marche were students together at Louis le Grand, and we have five letters from 17yo V to la Marche after la Marche had left the school early. There's.. a lot in those letters: (italics are originally in Latin)

"Please disabuse me of your perversity [la Marche had evidently called himself an Epicurean, and V wasn't having it] as I disabuse you of the opinion you have of my virtue, and make me a confession as sincere as the one I make to you. I know that it will cost you more than me, but I don't believe you want to hide your true feelings from me; this will be for me a lesson which perhaps I will not benefit from and will content myself with admiring; I see and I desire the better, I follow the worse. I finish with this line for fear that in continuing the picture I will make it so true that you'll believe me as insincere as you are when you speak of yourself."

And here's the context for the quote V said he couldn't finish w/o la Marche thinking him insincere:

(From Metamorphoses):  "Medea, you struggle in vain: some god, I do not know which, opposes you. I wonder if this, or something, like this, is what people indeed call love? Or why would the tasks my father demands of Jason seem so hard? They are more than hard! Why am I afraid of his death, when I have scarcely seen him? What is the cause of all this fear? Quench, if you can, unhappy girl, these flames that you feel in your virgin heart! If I could, I would be wiser! But a strange power draws me to him against my will. Love urges one thing: reason another. I see, and I desire the better: I follow the worse. Why do you burn for a stranger, royal virgin, and dream of marriage in an alien land? This earth can also give you what you can love. Whether he lives or dies, is in the hands of the gods. Let him live! I can pray for this even if I may not love him: what is Jason guilty of? Who, but the heartless, would not be touched by Jason’s youth, and birth, and courage? Who, though the other qualities were absent, could not be stirred by his beauty?"

There are multiple ways you could interpret this ofc, but also... gay

The rest of the letters are a combo of similar to the above and just depressing; V was super broken-up about la Marche's leaving. He also keeps trying to set up a time for them to meet in Paris, but there's no record of anything ever coming from that.

And then, in 1761, a monk murdered someone in Ferney and V wrote to la Marche's son about it since he thought it wasn't being investigated thoroughly enough and Marche fils was a magistrate at one of the parlements, and through that he and la Marche got back in touch and it's so 🥺🥺🥺

"M. de Ruffey, sir, made me shed tears of joy when he told me that you wanted to remember me, and that you resume the exchange of letters in which you have always been charming. My heart is still moved in writing to you. To think that it's been almost sixty years that I've been attached to you! My hair has gone white, my teeth have fallen out; but my heart is young: I am tempted to cross the mountains and the snow that separate us, and to come embrace you. I'm ashamed to admit to you that I consider myself in my retirement as one of the happiest men in the world; but you deserve to be so more than I do, and I warn you that I shall cease to be if you are not. You are honoured, loved, I know you have a very beautiful soul; a charming, fair, enlightened, sensitive soul ..."

And then eventually la Marche came to visit V at Ferney, and helped supervise the printing of the engravings for V's Corneille book that he was raising subscriptions for Mlle Corneille with

I think la Marche is my favorite just because all the letters are so sweet, and for the longest time I thought it was just the five early ones and then I was legitimately so fucking happy to find out that they did meet again in person. I also really wish there was more written about him, cause even if he's not super important historically when writing about V, V clearly cared about him a lot and la Marche was important to him

[mask131]

French fantasy review: Les flammes de la nuit

I do wonder why I make these posts – about French novels that I do not think were translated in English, reviewing them in English on an English-speaking website… I do know that some French people are lurking around under a mask of Englishness, but still, most people here are those that I guess will never have access to the novels I review… But oh well, I’ll do what I’ll do, as bizarre as it may sound: and what I’ll do is talk about the French fantasy.

I already translated a long time ago some articles written about the French fantasy literature, but here I will share my personal thoughts and favorites when it comes to this genre of fantasy that is considered “foreign” and “exotic” by the simple virtue of… not being written in English. France is the land of literature, and has already bred, nursed and thoroughly exploited and theorized the two genres that gave birth to the fantasy and yet are so hard to translate in English: the merveilleux of fables and epics, the fantastique of 19th century supernatural tales… Why wouldn’t France have fantasy too? The name of the genre stays English, unfortunately, but it has enough echoes and roots within our own féeries and surnaturel to find a place prepared for it since centuries…

Anyway, enough lyrical: let’s get into the meat of the subject, let’s dig to the bone, and I want to begin with “Les flammes de la nuit” (The flames of the night) by Michel Pagel.

When I picked up this book I was not expecting anything precisely from it, I was just curious. I had only ever heard of Michel Pagel through a huge and dark series of his called “La Comédie Inhumaine” that everybody loved and that was renowned as a dark and violent fantastique, but I never read it. The reason I picked up this book was due to its relationship with fairytales. If you do not know I am REALLY into fairytale stuff, I even have an entire sideblog just to talk about fairytales ( @adarkrainbow ). And this novel was advertised as being a fairytale subversion, so I thought, let’s get into it! [EDIT: I actually also had heard of Michel Pagel through another work of his that now I will definitively read, Le Roi d’Août, a supernatural historical novel that faithfully retells the biography of the king Philippe Auguste… While filling some historical blanks in his life by the intervention and encounter of the supernatural folks hiding within the French landscape.]

Most notably, when I checked briefly online reviews to see if I should get the book, all agreed on a same thing: all said that the book was absolutely great, with wonderful ideas and powerful characters… until the very end which had disappointed everybody (at least at the time the reviews were made, so by the 2000s/early 2010s). As a result I went into this novel saying to myself “Okay, the beginning and middle will be great, the end will be bad, get ready”. And… what a surprise! The ending was not bad at all. A bit confused and rushed but… it was a good ending. Or rather a fitting ending (because it is not a happy or positive one, nor is it a negative one – it is a grandiose, tragic, bittersweet but hopeful ending perfect for the tone of the novel and the project the author set upon himself). If you ask me, all the reviews were wrong – and I had been deceived for the best, since the novel surpassed what I was expecting. Now, I won’t throw the stone, I actually understand why these readers were disappointed with the ending and I’ll explain why (spoiler: it is a question of context and point of view). For now, I’ll simply say that I greatly love this novel which definitively goes into my top French fantasy novels.

In terms of editions and publications, a few indications… This is one of those typical edition thingies that are so peculiar to France. The novel was originally published as a series of novellas. Four in total, between 1985 and 1987, in the “Anticipations” collection of the Fleuve Noir publishing house (it was still in this era where in France fantasy and sci-fi were sold together as one and the same). Later, the four novellas were collected into one full volume, one novel divided into four parts. This complete volume was published in 2000 (in a small format by the J’ai Lu Poche Fantasy, in a large format by Denoël collection Lunes d'encre), and it is both the version I read and the one most people refer to when talking about “Les flammes de la nuit”. I do not know if the text was edited or slightly rewritten for this new format – I don’t think so, but I have to admit the text felt so much like an early 2000s story I was quite surprised it came from the mid-80s… There’s quite notably the fact the main character is openly bisexual, but hey, the 80s in France were quite a time too… More recently in 2014 Les Moutons Electrique republished the integral in a large format, and then in 2022 in a middle format, proving this novel’s great and enduring success.

 [Note: As I am writing this post I made a quick checklist and I just discovered that Michel Pagel actually was the French translator of Neil Gaiman’s Anansi Boys and American Gods, as well as of Gary Gygax’s Monster Manual for D&D… Wow, that was a total surprise – and it does explain some things, I notably see how Neil Gaiman’s writing could have had an influence over this novel…]

Let me briefly set you in the mood the very first pages plunge the reader into… We follow an old man who is travelling on a pilgrimage to a great lake at the center of a medieval kingdom name Fuinör. He isn’t just any old man: it is but one of his masks. He is the Enchanter, a great and powerful wizard as old as the universe itself, a supernatural being known to take many forms, and who can be as much a wild animal of omens as a seducing woman luring knights to an uncertain doom… Once he reaches the great lake, called the Mirror for its still waters form the perfect reflection of the sky and the sun above it, in a great burst of light, the sun disappears… and reappears. But the sun is not golden anymore: it is green. And with the sun everything changed color within Fuinör: the sky is not blue but indigo, the sea is the color of emerald, the trees have blue leaves, human skin is orange… And this is perfectly normal, for in the world of Fuinör, every seven years the sun is reborn above the lake, turning into a different color, and with it everything in the world also changes its hue. And as such, seven year by seven year, the light goes through all the seven colors of the rainbow…

This sets the stage for what “Les flammes de la nuit” is. And it is many, many things, a story which likes the sun of Fuinör undergoes different stages and tones (the serial publication helps this feeling of slow transition and evolution throughout the novel).

The story opens as an open, cynical and dark parody of fairytales – for the world of Fuinör is a world of stock fairytales. It is a world in which, when the king has a daughter, seven fairies, each for each color of the rainbow, arrive to bless her with all the usual gifts – beauty, grace, singing – while carefully avoiding anything like strength or intelligence, for these are male gifts for those destined to rule. It is a world in which, when the queen gives an heir to her king (and there is always only one king and one queen), she must die in labor – and if she happens to survive… then the royal doctor must prepare a certain powder to make sure the queen respects the tradition. It is a world where barons often declare themselves vile rebels and wicked usurpers and try to overthrow the high king… but they are always defeated because the law claims there can only be one rebellion at a time, and each baron must warn in advance the king and let him decide how, when and where he wants to do the battle. It is a world where there is a land for each thing – quite literally. Fuinör is divided into different “countries” each dedicated to a specific area: there is a land of Hunting, where the hunts take place, and any hunting elsewhere is outlawed. There is a land for War, and nobody would ever think of waging war elsewhere than there. There is a land for Love, and all love and romance and sex can only take place within its boundaries. Such as the laws, and the customs, and the traditions, and they have always been since the beginning of time…

Fuinör is a mix of all the classical fairytales and the traditional medieval romance and Arthurian tales – but all taken to an extreme. Fuinör is a world stuck in an endless cycle of loops, where the events all repeat themselves in the same way with predictable end, where everyone is given a specific role and fate since birth, where everything is stuck under an order that has been decided by ominous gods a long time ago, and where no surprise and no disorder can ever happen. The brave knights in shining armor always win the heart of princesses, the high king is always victorious of anyone that tries to take his throne – and if someone ever does, THEY are the rightful high king and the other is the usurper – and the peasants… well who cares, they don’t count, they’re not even considered human, they are just here to work and be background props.

But things will change… Things will change thanks to the Enchanter, who decides that when the new princess of the kingdom is born, little Rowena, she shall receive a gift no other princess ever received… the gift of intelligence. An intelligence that will allow her to understand the absurd logic of her world, and use the sclerosis of archetypes and the rigidity of millennia-old customs to her advantage. An intelligence that will make her greater and more powerful than anyone – an intelligence that will threaten the very existence of Fuinör… Thus is the beginning of “Les Flammes de la Nuit”.

The beginning of the novel, Rowena’s own youth and story, is clearly designed to deconstruct all the archetypes, stereotypes and point out all the bad side of both the generic fairytale (especially Disney’s version of fairytales – the novel is filled with jabs at Disney and the “Americanized” fairytale, the seven fairies being basically Disney’s fairy godmothers mixed with Glinda from The Wizard of Oz MGM movie) and of the Arthurian romance as we know it today. It does not mean Michel Pagel hates those genres, quite the contrary! This book heavily pays homage to both domain, in which Pagel has clearly a great interest. In fact, this book is much more “medieval romance/Arthurian epic” than fairytale in tone, and while anybody who saw the Disney movies or read Perrault will get the fairytale references, I do believe someone with zero knowledge of the Arthuriana will miss a LOT of cultural jokes and clever references in this text. From the get go the Enchanter is clearly supposed to be inspired by Merlin from the Arthurian myth – but not the Disneyified, Americanized Merlin. The original Merlin, Myrddinn, the mythical, legendary, ambiguous and terrifying entity that exists beyond shapes and times and manipulates fate as he pleases… In a similar way, if you haven’t done any research on the evolution of the legend of Avalon you won’t get how twisted and cool the climax within the domain of the Fairies is… But I won’t reveal too much spoilers.

But loving doesn’t mean being uncritical, and this book is clearly the result of Michel Pagel thinking about what he adores, and highlighting in an entertaining way all that is wrong with those classical tales. The first part of the story is centered around Rowena, this intelligent and daring girl born within a world of the worst fairytale stereotypes and outdated medieval chivalry. And as she grows up she gets to explore what others were too afraid to explore, she understands what nobody understood, she gains power nobody had access to before… all the while suffering from what her world really is: unfair, classicist, sexist, misogynistic and abusive. And this begins already the bittersweet tone of the novel. At the same time we have a very funny parody that enjoys dark humor and plays all the code of the traditional “fractured fairytale”, and yet it alternates with very sad and dark moments where Rowena is confronted with the cruelties of such a universe and understands why being an intelligent girl in a world where women are to be submissive and stupid can be dangerous. But all is in fact set and prepared for her own fate, prepared by the Enchanter in person: for Rowena will become… the Witch.

And of course I love this, because who doesn’t get to love a dark retelling of fairytales, who doesn’t like a faithful retelling of medieval epics with an acute sense of modern values clashing with outdated morals, who doesn’t get to love the story of how a girl became a witch-queen? But… I think this is where the “fracture” with a certain part of the audience happened. I will return to the reviews I talked about above: many people thought the ending was worthless or were betrayed by it. Having read the novel I understand why they felt that: in their own words, they were sold and expected a feminist retelling of fairytales about breaking conventions and stereotypes. They were sold the story of a girl being a hero, and the old fairytale clichés being mercilessly mocked and denounced and beaten upon. And that was it for them. As such, yes, the ending probably disappointed them… Because it isn’t what the story is about.

It is made clear in the beginning of the story: being a Witch is not a pleasant thing. It is not a power fantasy. It might look like it, and Rowena uses it as such, but we are clearly warned that a Witch is still an unpleasant, dangerous and sometimes disgusting existence which will require suffering, both inflicted by the Witch and received by her. It is in such a path Rowena sets herself upon – and this is part of a greater scope of things. Rowena is the main character of the novel, but she is part of a wider plot by the Enchanter. The Enchanter wants to break the endless, frozen cycle of Fuinör. He wants to destroy those paralyzing traditions and this unnatural order. He wants to plunge back the world into chaos – a benevolent, needed, positive chaos, but a chaos still. And one of the very strong messages of this tale is: a need to go beyond Manicheism. To go beyond simplistic duality or archetypal characters. What Rowena, and the Enchanter, and others later, bring is complexity. The entire point of the novel is to go beyond the idea that there is all good and all bad, clear cut good and evil, black and white. As such, slowly as the cosmic battle wages on, as the Tradition and the Divine Law unravel, the characters grow into shades of gray as all their values, their positions and their allegiances are redefined, put to test or exposed, as the very machine of the universe starts to be pulled apart. Characters that start out as nice and lovable heroes turn into selfish villains. Characters that appear as flawed jerks and unsympathetic narrators learn from their mistake and grow heroic and wise. Courageous warriors grow into cowards, figures of sanity become mad, and this entire novel is the story of one huge revolution where everything changes: moralities, social hierarchies, laws of justice, and even genders! (The novel notably features an exploration of non-binary genders through one specific character – or three depending on how you count it – not including the various shapeshifting of the supernatural entities, which again helps make it resonate with a modern audience despite being around for quite a long time)

As such, no, this story is not a feminist power fantasy, and those that go in expecting this will be disappointed. It is a much, much larger and complex story about an entire world, about this fictional place born out of the classic fairytales and the medieval romances and the Arthuriana, and how this thing is confronted with its own choice of “evolve or die”. And this is still a very powerful and admirable story, which at the same plays subverts tropes, while also playing many clichés and stereotypes straight, but with a clear knowledge of this. Some people in the reviews said they were disappointed that ultimately, it seemed that Michel Pagel, in trying to break down and denounce clichés, ended up himself reasserting those same clichés. And I honestly do not think it is the case – as the novel is rather a strong defense of “We should get rid of all clichés and stereotypes, because they’re always going to trap us, no matter on which side they are”. But again, I can’t reveal too much without spoiling this long modern epic.

A good example of why for example this novel isn’t a pure “feminist fantasy” as many believed: Rowena is not the only main character. There’s another one, a “male counterpart” so to speak of the Witch-Queen in training. A character who doesn’t really have a name (well he has one but it is kind of a spoiler domain), and whose own backstory forms the second part of the novel (or the second novella of the series). A character who lives in a different part of Fuinör, and also should have been trapped in a cycle of millennia-old rituals and binding traditions and unfair customs, but whose fate changes completely due to the interventions of the Witch and the Enchanter… Except that, whereas with Rowena we had a bittersweet parody of Disney movies and traditional fairytales, with this second character we rather explore a deconstruction and attack of a different type of folktales. There is notably a brutal takedown of the whole “Journey of the Hero” system and the “Monomyth” idea. And I don’t say “brutal” lightly: this part of the novel is very, very brutal, physically speaking. Because this second main character is the helpful companion on the road in fairytales that helps the hero get the girl while himself having nothing. He is also the stock archetype of the Fool doomed to make mistakes and be ridiculed or punished. And he is the False Pretender, the False Hero of fairytales here to put in value the True Hero… Except we are told the story through his point of view. Except he is not evil, he is a guy who is trying his best but is put in an unfair position and only gets endless bullying. Except the True Hero doesn’t seem to be deserving of his position, and the question is raised of “Maybe the other guy should have been the Hero”… But here we shift into a fantasy version of what Terry Gilliam’s “Brazil” was and we fully explore the magical dystopia that is Fuinör.

Overall I do have to say… I think so far the closest thing I have seen in terms of overall tone and ambiance, in the English-speaking world, to compare these works… would be Dimension 20’s season “Neverafter”. Both works deal with a very funny parody but also very dark twisting of fairytales and folktales. Both deal with characters being abused and going through horrors at the end of great cosmic powers and otherworldly narrators. Both tread between comedy and horror ; and both deal with the protagonists’ attempt at breaking endless cycles set upon by fairies (because, in both Pagel’s novel and Dimension 20, the fairies are one of the numerous antagonists as the ruthless and terrifying enforcers of the “laws of fairytales” that get everybody stuck in their roles and functions). Of course, the two works are very different beyond that… But there is a common bone.

A final element I need to add so that you get a full understanding of this novel: Michel Pagel placed his book under the patronage of Shakespeare. And if the fact every part opens with a quote from one of Shakespeare’s play, from Hamlet to Macbeth passing by Romeo and Juliet, King Lear and more, wasn’t enough, anyone versed in Shakespearian studies will see how among the many archetypes and stock tropes of the novel, those of Shakespeare also regularly pop up. Someone once wrote that this novel started out as a fairytale parody, but slowly evolved into a Shakespearian tragedy, and I cannot agree more. It does start out as a dark and morbid but entertaining parody – and then things get really brutal, really violent, really sad, really serious, and we enter a terrible and dreary fantasy, but still very poetic and very human, that moves towards a universe where all of Shakespeare’s greatest cruelties fit right at home. The novel most notably has a lot, a LOT of fun exploring the Shakespearian archetype of the “Fool”. There’s almost two handfuls of characters that each is meant to explore a different aspect of the Shakespearian Fool, each expressing a difference nuance of it (the famous non-binary character is one of them, paying homage to the typical gender-plays and gender-questioning within Shakespeare’s plays) – and I am glad to be a Shakespeare enjoyer when reading this novel because again, a random person with zero Shakespeare knowledge would miss a lot of things. (Which again is I believe the reason the Internet reviews attacked this novel, there is a certain degree of medieval and literary knowledge needed to get the parts of this novel that pay homage to the older texts and more ancient roots of the clichéd, Disneyified myths we have today… Without it the novel can still be read, but it might seem much weirder and bleaker than it truly is)

Finally a flaw, because there needs to be a flaw in every review, it can’t all be glowing: I do admit that of the four parts composing this novel, the fourth one did felt unbalanced. Notably the author seemed to spend too much time, description and effort on characters barely introduced (which at the ending climax of a story is not good), and not enough on the characters we were following since the very beginning… But I will blame that on the fact the fourth part was originally meant to be an independent novella read one year after the last part was published. I do believe that, while putting the full series in one volume is quite convenient if you want to buy something to read over holidays, it does make one feel a bit tired by the end since you literally absorb four years of writing into one go… So, my advice would be to enjoy this book by making pauses between each part, to not do an “overdose” that would be too abrupt.

Or two flaw, I feel generous: when it comes to the second part, it felt a tad bit repetitive. A tad bit too much repetitive. I get that we are supposed to have a hopeful character that is trying his best to make things work and obtain what he wishes for, and we are supposed to fully get the injustice of the situation and the hardness of this world… But precisely because of how it explores casual violence and vicious brutality, the repetitiveness is felt more. It’s a type of “break the cutie” (who isn’t here so much a “cutie” as a morally neutral human being) scenario, and I am not well placed to say if the author did just enough or too much.

[Edit: I do love how the original covers for the 80s series tried their best to make it seem like a full horror series... when it is not]

[hedgehog-moss]

"rn I feel like reading about someone's quiet daily life, maybe a diary or letters, set in a place or context I don't know much about, without turmoil or tragedy" oh! do you have any recommendations for books like this?

This is one of my favourite types of books! Here are 30(ish) recs...

May Sarton's The House by the Sea or Plant Dreaming Deep

Gyrðir Elíasson's Suðurglugginn / La fenêtre au sud (not translated into English unfortunately!), also Bergsveinn Birgisson's Landslag er aldrei asnalegt / Du temps qu'il fait (exists in German too)

Gretel Ehrlich's The Solace of Open Spaces, which iirc was originally written as journal entries and letters before being adapted into a book

Kenneth White's House of Tides: Letters from Brittany and Other Lands of the West

Sei Shonagon's Pillow Book

The Diary of a Provincial Lady, E. M. Delafield

Growing Up with the Impressionists: The Diary of Julie Manet

Elizabeth and Her German Garden by Elizabeth von Arnim (do not read if you don't like flowers)

The Road Through Miyama by Leila Philip (I've mentioned it before, it feels like this gif)

The Sound of a Wild Snail Eating, I keep recommending this one but it's so nice and I love snails

Epicurean Simplicity, Stephanie Mills

The Light in the Dark: A winter journal by Horatio Clare

The Letters of Rachel Henning

The letters of Tove Jansson, also The Summer Book and Fair Play

The diary of Sylvia Townsend Warner—here's an entry where she describes some big cats at the zoo. "Frank and forthcoming, flirtatious carnivores, [...] guttersnipishly loveable"

The Letters of Rachel Carson & Dorothy Freeman were very sweet and a little bit gay. I mostly remember from this long book I read years ago that Rachel Carson once described herself as "retiring into her shell like a periwinkle at low tide" and once apologised to Dorothy because she had run out of apple-themed stationery.

Jane Austen's letters (quoting the synopsis, "Wiser than her critics, who were disappointed that her correspondence dwelt on gossip and the minutiae of everyday living, Austen understood the importance of "Little Matters," of the emotional and material details of individual lives shared with friends and family")

Madame de Sévigné's letters because obviously, and from the same time period, the letters of the Princess Palatine, Louis XIV's sister-in-law. I read them a long time ago and mostly I remember that I enjoyed her priorities. There's a letter where she complains that she hasn't received the sausages she was promised, and then in the next paragraph, mentions the plot to assassinate the King of England and also, the Tartars are walking on Vienna currently.

Wait I found it:

R.C. Sherriff's The Fortnight in September (quoting the author, "I wanted to write about simple, uncomplicated people doing normal things")

A Tree Grows in Brooklyn, Betty Smith

Pond, Claire-Louise Bennett

Rules for Visiting, Jessica Francis Kane

The following aren't or aren't yet available in English, though some have already been translated in 5-6 languages:

ツバキ文具店 / La papeterie Tsubaki by ito Ogawa

半島へ / La péninsule aux 24 saisons by Mayumi Inaba

Giù la piazza non c'è nessuno, Dolores Prato (for a slightly more conceptual take on the "someone's everyday life" theme—I remember it as quite Proustian in its meticulousness, a bit like Nous les filles by Marie Rouanet which is much shorter and more lighthearted but shows the same extreme attention to childhood details)

Journal d'un homme heureux, Philippe Delerm, my favourite thing about this book is that the goodreads commenter who gave it the lowest rating complained that Delerm misidentified a wine as a grenache when actually it's a cabernet sauvignon. Important review!

Un automne à Kyôto, Corinne Atlan (I find her writing style so lovely)

oh and 西の魔女が死んだ / L’été de la sorcière by Kaho Nashiki —such a little Ghibli film of a book. There's a goodreads review that points out that Japanese slice-of-life films and books have "a certain way of describing small, everyday actions in a soothing, flawless manner that can either wear you out, or make you look at the world with a temporary glaze of calm contentment and introspective understanding [...]"

I'd be happy to get recommendations in this 'genre' as well :)