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Sunday, March 25, 2012

Louis XIV's Use of Fairy Tales for Political Ends by Savvy Mom Ruth Paget

Louis XIV's Use of Fairy Tales for Political Ends by Savvy Mom Ruth Paget

The politics of seventeenth century France revolved around the efforts and success of Louis XIV (1638-1715) to unify the kingdom of France around his person to the detriment of the provincial nobility, who had mini kingdoms of their own in the Middle Ages.  Under Louis XIV, the warrior knights of the Middle Ages became concerned with fashion and free food.  Louis XIV paid Swiss mercenaries to wage war, so he could control his pesky French noblemen and their wives.


In particular, Louis XIV weakened the nobility by allowing a portion of the bourgeoisie (i.e. lawyers, financiers, and doctors) to assume positions of prestige and limited power. He granted nobility to some, who brought great amounts of income to the kingdom.   Charles Perrault (1628-1703), the author of Les Contes de ma mere l’Oye (Mother Goose Tales), was a member of the bourgeoisie called upon to serve the king.  


Perrault supported the political objectives of Louis XIV in his fairy tales, especially his Cinderella and Donkey Skin tales, whose models of feminine beauty played into the unification strategy of Louis XIV by demising the number of people who could compete for the throne against his family.


The tale of Cinderella is one of a step daughter from a previous marriage, who becomes a servant to the children of her father's second marriage.  Cinderella dreams of becoming a princess despite her being a servant.  


Cinderella’s fairy godmother gives her fashionable clothing to wear to the palace and other accoutrements of aristocratic position such as a carriage with fine horses.  Cinderella meets her prince, who later identifies her by placing a thin glass slipper on her foot; only a feather light woman could wear such a shoe. 

 

In Perrault’s version of Cinderella, Cinderella forgives her jealous step-sisters and finds them rich husbands, so they would leave her alone it appears.


The heroine of Donkey Skin, unlike Cinderella, is already a princess and not a member of the bourgeoisie when the story begins.  Her father, the king, wants to marry her.  With the assistance of her godmother, the princess uses several ruses to avoid the incestuous desires of her father.


When the princess could no longer avoid her father’s advances, she leaves the country to protect her virtue.  The princess must wear a donkey skin to hide herself, but her godmother assures her that her clothes and jewels will accompany her everywhere.


The ending of Donkey Skin resembles that of Perrault’s Cinderella.  A prince finds his princess by placing a ring on her very little finger.  The prince’s family is thrilled to find out that Donkey Skin is a princess, who does not really wear a donkey skin everyday like a peasant.  


In the last scene, Donkey Skin forgives her father the king for wanting to marry her.  However, in an absolute monarchy, everyone must obey the king despite what the church says is moral; the king assures food, clothing, and shelter in greater amounts than cloistered nuns.


The moral of these two fairy tales is that women who conform to the king’s ideal of beauty get to be part of palace life, especially if they forgive the king for any trespass.  including incest. 

 

Perrault subtly informs readers that well-clothed women of slight weight are ideals of beauty for their delicate physical size; thereby making many of them incapable of self-defense or of danger to the king or his family without a weapon.


Women had already lost their political rights by the time of Louis XIV due to the rigid implementation of the Salic Law, which was promulgated under Charlemagne (circa 742 -814).  Salic Law prevented noblewomen in France from inheriting dominions or ruling as sovereigns to reduce the division of property in the kingdom.  Noblewomen were supposed to become part of their husband's "house" as far as property and land were concerned.


Despite Salic Law, the power of Catherine de Medici (1519 – 1589) must have lingered in the mind of Louis XIV as to what women could do just as queen mothers.  The menace of possible female leaders in the land with the example of Joan of Arc (1412 - 1431) must have also worried Louis XIV, but he effectively dealt with his problems by subtle and not so subtle means of control.



Among his methods of control were dictating models of clothing fashion, determining cultural program offerings in which he starred at Versailles inside the palace and out in the gardens.  The king wore ballet slippers while all his courtiers wore heels.


Louis XIV also encouraged competition among nobles as to whom could participate in the “Lever du Roi” or “Waking up of the King” to help him bathe, shave, dress, and eat.  He would change favorites every two weeks or so for special food and drink treats during ballets, theatre, and puppet shows as well.


Finally, like the women in Cinderella and Donkey Skin, who need a godmother to arrange for their positions in society, Louis XIV made sure that even his most prestigious courtiers knew that they held their positions due to royal prerogative alone.  Demeaning women leads to the demeaning of men as well.


By Ruth Paget, Author of Eating Soup with Chopsticks and Marrying France

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Saturday, March 24, 2012

Uncovering Secrets in Jean de la Fontaine's Fables with Savvy Mom Ruth Paget


Uncovering Secrets in Jean de la Fontaine's Fables with Savvy Mom Ruth Paget

The morals that are stated or are implied by many of Jean de la Fontaine’s (1621 – 1695) Fables often criticize the powers-that-be of 17th century France, notably King Louis XIV (1638 – 1715).


La Fontaine was astute in criticizing the government in the form of fables; it most probably saved his life.  Louis XIV and his courtiers evidently found nothing in common with the animals and insects described in the Fables. 


La Fontaine likely formed his dislike of Louis XIV when his patron, the Superintendent of Finances, Nicolas Fouquet (1615 – 1680) was tried and imprisoned by Louis XIV for corruption.  La Fontaine suffered after Fouquet’s disgrace as well by having to pay a large fine for using an aristocrat’s title in his name and having to seek a new patron.


La Fontaine begins his Fables with the story of the grasshopper and the ant.  The grasshopper asks the ant for food, which the ant refuses to give him.


The implicit moral of the fable is to economize to prepare for difficult times.  The financial vocabulary that La Fontaine uses all point to an economic interpretation of this fable with words such as interest, principal, debtor, and borrower being used in the text.


The lesson here is that small-scale economies apply to the kingdom as well.  Louis XIV’s projects such as diverting the Eure River to supply the fountains at Versailles with water were expensive.


La Fontaine’s ultimate moral in the grasshopper and ant fable may have been that kings should manage their treasury and save money rather than divert rivers and engage in wars.


The absolute power of Louis XIV may have served as the subject of La Fontaine’s fable of the wolf and the lamb.  The lamb tries to persuade the wolf not to eat it using reason and logical arguments. However, the wolf eats the lamb without remorse, using force to do so.


Force appears to win the day in La Fontaine’s Fables, because rulers, subjects, and La Fontaine’s animals are susceptible to flattery.  In La Fontaine’s fable of the crow and the fox, a crow holds a piece of cheese in its beak. 


When the fox flatters the crow, the crow opens it mouth to show off its beautiful voice. When this happens, the crow drops its meal to the fox below.  The moral of the fable is that flattery harms those who listen to it and believe it, which suggests how Louis XIV was able to divide and conquer his once-powerful nobles.


Looking for veiled political criticisms such as these in Jean de la Fontaine’s Fables adds another level to appreciating La Fontaine’s work and to understanding the era of Louis XIV.


By Ruth Paget, Author of Eating Soup with Chopsticks and Marrying France

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Tuesday, March 6, 2012

The Dictation of Mérimée - a French Grammar Game Described by Savvy Mom Ruth Paget

The Dictation of Merimee - a French Grammar Game with Savvy Mom Ruth Paget - Ruth Pennington Paget


I first saw a framed copy of the Dictation of Mérimée  created by Prosper Mérimée (1803 – 1870) in the home of my husband’s grandparents.

I knew that this had to be a dictation after years of doing grueling Friday dictation exercises in my high school. My French teacher would read a passage for half an hour that we students would write. Then, we would pass our papers to the student behind us and correct the dictation exercise.  I credit dictation exercises for my command of French grammar.

French is full of traps related to homonyms. The sound “oh” can be written as “o,”, “ô,” “eau,” “ault,”, “eaux,” “au,” “aux,”, and “ot.”


You have to know your vocabulary words and be analytical about applying grammatical rules. In French class, dictation correction time solidified correct usage in our young minds. We all wanted perfect scores to show how polished our French was.


As we students advanced through high school, our French teacher gave us dictation exercises from works such as Antoine Saint-Exupéry’s Le Petit Prince and Gustave Flaubert’s Salammbô. (Salammbô takes place in Carthage in the 3rd century BCE after the First Punic War.) These dictations were somewhat easier for us, because we were reading these books in our French class.


So, when I saw this framed dictation about a dinner in Saint-Adresse near Le Havre, I knew I had to ask my husband’s grandmother a question, “Is this a famous dictation?”


She laughed and said, “It is infamous. It is the Dictée de Mérimée. Napoleon III had trouble with it, but the Austrian ambassador to France only made three mistakes on it.”


The Austrian ambassador was the Prince de Metternich. The dictée that Mérimée created in 1857 was part of the entertainment at the court of Napoleon III in Compiègne, France. The Empress Eugénie made 62 mistakes and Napoleon III made 75 mistakes.


Dictations have remained a part of French culture and not just in school.  I was surprised to learn when visiting one of the great-aunts in my husband’s family that she attended a weekly dictation club where she and her friends took turns choosing and reading the dictations that others wrote. 


Sometimes they chose passages from French literature, but mostly they made the passages up themselves.  (No doubt the made-up passages were full of exceptions to the rules.)


After that discussion, I felt like going home and reviewing French grammar books like Le Petit Bescherelle and taking advantage of the many dictations that are now available on the web. I always liked my French teacher’s dictations that required etymological knowledge in addition to analytical ability.


My family’s copy of the Dictée de Mérimée written on parchment is in a frame on a wall in our home in Germany (now Monterey County California).


By Ruth Paget, Author of Eating Soup with Chopsticks and Marrying France


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Tuesday, February 28, 2012

Navigating the Colonial French Business Meal with Savvy Mom Ruth Paget



Navigating the Colonial French Business Meal by Savvy Mom Ruth Paget


Savvy business people know that understanding the etiquette that surrounds a business meal can foster relationships that are crucial for doing business in foreign countries. The success of your product or service may have its beginnings in the impression you make at the dinner table.


Nowhere is this truer than in France. The well-thought out contrast of cold versus hot dishes, textures, seasonings, difficulty of preparation, and choice of wines to go with dishes make ordering a French meal a pleasurable intellectual exercise. How well you can put this savoir faire into practice can contribute to the impression that your French counterparts retain of you.


The French meal begins with the very agreeable custom of drinking an apéritif. This is usually a sweet wine or another alcoholic beverage, which should stimulate the appetite. One of the most popular apéritifs is kir. It is made with white wine and blackcurrant liqueur (crème de cassis). Even more popular is kir royal, which is made with champagne.


Plain champagne will always be welcome as an apéritif as well. Those diners seeking the flair of Provence should try anise-flavored pastis. Drinking whiskey is an accepted British habit. The apéritif, always taken in moderation, should serve as a gastric warm up.


In the past, the French preceded the entrée with an hors d’oeuvre, but nowadays business meals are being scaled down. The appetite-opening entrée begins the meal. The French are confused by the American use of entrée to describe the main dish in American fare. 


In France, the entrée can be almost any kind of food depending on what you plan to eat after it.


Ham from Bayonne served with fresh figs or cantaloupe is a popular entrée during summer months as well as vegetable terrines. Shellfish show up frequently during the winter months with raw oysters, called fresh oysters in France, being the premier dish. 


Other favorites are baked scallops on the half shell and boiled langoustines, a soft-shelled crayfish. Foie gras in aspic is an especially luxurious entrée. Any entrée should just ever so slightly satisfy your appetite on the way to the main dish called the “plat principal.”


Meat or fish is the usual main dish, but the cooking techniques are often what set French cuisine apart from the cooking in the United States, for example. Poached fish whets the appetite for a dry white wine. 

Chicken simmered in wine literally falls off the bones in the dish called Coq au Vin (Chicken in Wine Sauce). Roasted meats, especially lamb shanks, remain a favorite, because meat accompanies red wine so well.


The French are by no means finished eating after the main course. A simple green salad with vinegar and oil dressing sometimes follows the main course. The French never drink wine with salad as the vinegar clashes with the wine. If you want to avoid appearing uncouth, you should do the same. Many restaurants proceed directly to the cheese course.


The arrival of the cheese platter signals that serious business discussion can begin. It may even merit opening another bottle of wine. In a restaurant, you can point at two or three cheese offerings on the cheese platter if you do not know the names. 


However, it is better to ask the waiter what the names of the cheese are and then select a few. The waiter will give you your cheese selections.


You may never have to do it, but it is good to know the correct way to cut the cheese in France:


Round cheese in wedges


Log shaped cheese in rounds


Square cheese in little squares


Flat-topped pyramid cheese in squares


Wedges in slimmer wedges


Knowing these fine points could earn you some brownie points with your dinner guests on the way to dessert.


Many French people drink a sweet wine or semi-sweet Champagne with their dessert. This holds true for all desserts except for those containing chocolate, which taints the taste of wine. Luscious desserts served in dainty portions explain how the French stay so slim.


The meal usually ends with a cup of espresso. The French never drink coffee with their meals. Strong, bitter espresso bears no relation to the mild American beverage. Preferred after-dinner drinks are cognac and armagnac. Some restaurants even offer their patrons a cigar.


A final word should be said about dinner conversation. French businesspeople have elegant, old-fashioned manners. They will not aggressively seek out personal information. 


Instead they will let you slowly reveal your personality through your discussion of current events, interests, and French culture. The French are justly proud of their heritage and they will appreciate knowledgeable references to it during dinner.


Cigars can be smoked at the end of the meal, usually by men.


Bon appétit!


By Ruth Paget, Author of Eating Soup with Chopsticks and Marrying France


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Tuesday, November 15, 2011

Exploring Germany's Deutsches Museum in Munich with Savvy Mom Ruth Paget


Exploring Germany's Deutsches Museum for Science in Munich, Germany with Savvy Mom Ruth Paget

The Deutsches Museum in Munich, Germany beckons visitors to deepen their knowledge of the sciences they already know and discover how other sciences and technologies evolved often by viewing original machines or replicas.


The first thing that will surprise visitors to the Deutsches Museum is the amount of wood and brass you will see. Early scientific equipment was often made of wood and highly polished, so that it still resembles a work of art.

 
The Deutsches Museum houses a boggling array of items, including planes, cars, full-size boats, a replica of Foucault’s Pendulum, and a reproduction of Galileo’s workshop. You really cannot appreciate more than one or two galleries at a time on a visit. 


During the visit I spent with my husband, we spent most of our time in the topography and mapping and mathematics galleries.


This is especially true of land surveying equipment, models, and globes used to make topographic maps. Topographic maps show the shape and elevation of land. Topographic maps help with disaster prevention and land use planning and are especially necessary in Alpine landscapes.


The mathematics gallery will bring back school day memories for many visitors. For example, even though scientific calculators had been invented, I still had to learn how to use a slide rule to calculate logarithms, the opposite of exponents, in geometry class in high school. I wonder if today’s engineers would know how to use slide rules if their scientific calculators quit on them.


Further on in the mathematics section, there was a large wooden Mobius Curve that you could pick up and handle. It allowed you to see how it was an infinite curve by looking at upper case letters that became lower case letters without turning it over. 


An Albrecht Dürer copy of a geometric design drawing by Leonardo da Vinci illustrated the close ties between Germany and Northern Italy as well as the general human delight in spiraling shapes that remind viewers of the Book of Kells or The Lindesfarne Gospels.


After cursory tours of several other galleries, we set out to find a meal that was not the typical sausage and beer that is described as typical “Munich-style” cuisine in most guidebooks. We found a small Bavarian café, where I tried out my budding German and some new foods. 


I ate Zagreb-style schnitzel, which is Croatian pan-fried veal coated with breadcrumbs and stuffed with cheese and ham. It is served with fries and took the edge off a foggy winter day that reminded me that the Alps were there even if I could not see them.


My husband had rindersteak (Round Steak) with red wine sauce and rotini pasta. This satisfying dish and mine were accompanied by a salad made of juicy tomatoes and cucumbers.


Our meals fortified us to walk around Munich’s neighborhoods and along the Isar River. The fall colors of the trees in a descending winter fog from the Alps held out promises for hikes and strolls through town despite the cold; we will be back.


By Ruth Paget, Author of Eating Soup with Chopsticks and Marrying France


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Tuesday, October 25, 2011

Medieval Contributions to Theatre by Savvy Mom Ruth Paget

 Medieval Contributions to Theatre by Savvy Mom Ruth Paget


The chapter title “The Age of Expiring Chivalry” in Calvin Thomas’ A History of German Literature could just as aptly be named “The Rise of Church Theatre.”


Thomas describes Easter plays in detail as Easter is the more important holiday in Europe than Christmas. There several kinds of plays presented by churches in open-air spaces that connect us with Europe’s past albeit in a fragmented form. 


The plays orchestrated by the Church that Thomas describes include:


Easter plays – Pertains to the discovery of Jesus Christ’s body and his resurrection


Passion plays – Enactments of the trial, suffering, and death of Jesus Christ


Christmas plays – Depiction of the birth of Jesus


Shrovetide plays – Carnival plays before the fasting period of Lent before Easter


Thomas points out key elements about these productions that planners of small and large theatre acts should keep in mind:


*They were performed outside as open-air spectacles


*These dramas began as late-medieval performances and ended as spectacles by the fifteen century, “employing an army of actors” (Google page number 109, Book page number 3)


*The performances lasted several days


These plays functioned like the sculpture on the French Gothic cathedrals for teaching the illiterate Bible stories. Spectacles must have brought in necessary revenue as well, especially if they lasted over several days.


Thomas points out that Latin and German were used to narrate the plays, which does make them important for literature. Thomas complains that the play texts that survive are more akin to stage directions; they probably resemble a director’s copy of a screenplay.


Some of the stand-alone acts that we associate with circuses or as children’s entertainment have come down to us from church Easter theatre; these include clowns, any kind of horseplay, and scatological humor according to Thomas.


Many of these plays are still performed in Germany today for adults and children alike. These performances draw in tourists to contemporary Germany; they invite the spectator to hearken back to a medieval soul and assume the position as town baker, butcher or candlestick maker and play your role in society.


The Passion Play at Oberammergau outside Munich, Germany is still performed every seven years.  There is a museum in town devoted to the history of the play.


By Ruth Paget, Author of Eating Soup Like Chopsticks and Marrying France


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Exploring the Runes and the Edda with Savvy Mom Ruth Paget


Exploring the Runes and the Edda with Savvy Mom Ruth Paget


Books about literature often provide a shortcut to learning about another culture. In the case of the German language, readers can find clues about how the cultures of Germany, Austria, German-speaking Switzerland, Lichtenstein, and Luxembourg function.


As I read through the first half of A History of German Literature by Calvin Thomas on Google Books, I felt like I was reliving many of the experiences I had shared with my daughter when she was a grade school student at a Waldorf School. 


This is not a farfetched claim when you consider that the founder of the Waldorf Schools, Rudolf Steiner, was Austrian and founded his first school in Stuttgart, Germany in 1919. Steiner’s philosophy focuses on the performing and visual arts as a means for teaching, which makes the mystical and medieval texts of the German language come alive.


Thomas relates in the very beginning of his book that the German runes are a form of paganism. He says that no extant literature exists which uses the runic alphabet. When my daughter and I made clay pebble tablets and inscribed runic symbols on them, which resemble Sumerian hatch marks, I told her, “People who could read runes were thought to be magic by everyone else. That’s why reading is still considered magic now.”


I believe that runes hid codes and showed my daughter how to set up codes similar to vignière ciphers to communicate with me. These codes may have been beyond her years, but they provided us with afternoon entertainment during long winter nights. 


The entertainment for the Germanic peoples most probably came from what were eventually written down in the thirteen century Icelandic Edda that formed the corpus of the Norse myths. Thomas deals with these myths only briefly as he was focusing on indigenous literature, but these myths appear to be important to German speakers as well.


Thomas writes that it was only in the twelfth century that “gleeman’s or minstrel’s tales were written down.” The two most famous tales were The Niblung Lay and The Lay of Gudrun. What is interesting here is what Thomas shares about how storytellers memorize their tales for presentation. 


Storytellers use “stereotypical phrases and prolixities which stamp the gleeman’s style.” (Google page 33, Book page 48). This creates flat characters, but allows the storyteller to focus on action and plot, perhaps accompanied with body movement.


Thomas further notes that “the gleeman’s art is discernable in this repetition, also in a marked fondness for fantastic adventures, hair-breadth escapes, cunning tricks and disguises, and in general for the wildly fabulous.” (Google page 48, Book page 63)


As I watched school performances where young children recited poetry each in turn, I understood why their teachers had them do this from reading Thomas’s A History of the German Language; Literature is based on the foundation of oral literature’s strong plot structure, especially when accompanied by music.


By Ruth Paget, Author of Eating Soup with Chopsticks and Marrying France


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