The Metamorphosis from Medieval to Modern Era - Term Paper Example

The Evolution of Representations of the Libertine The Evolution of Representations of the Libertine Titus Rock Manickam Order No. 221582 22 April 2008 Table of Contents Introduction………………………………………………………………… 3 The Renaissance factor……………………………………………………...4 Search for a New Order……………………………………………………..5 The Undercurrents……………………………………………………..........6 Libertine Art…………………………………………………………………7 The Writers’ Influence……………………………………………………….9 Newness……………………………………………………………………..10 Dangerous Interludes………………………………………………………..12 Conclusion…………………………………………………………………...13 Bibliography…………………………………………………………………15 The Evolution of Representations of the Libertine Introduction The 17th and 18th centuries witnessed a plethora of great writers whose salacious tastes and observations served as scintillating cover-up to their scornful disdain of the social norms of the times, largely in Europe and particularly within the environs of France. In the aftermath of the holy wars when education and economical advances became the focus of a dynamic social order in Europe, internal and external factors among the dominant nations, led the think tanks to exercise their minds and draw upon their experience to scout for governmental systems that provided solutions to vexatious issues. These issues had largely to do with factors or methodologies for keeping anarchies at bay and holding on to power. Uneasy lay the heads that held the crown. The dark ages did not provide any help by way of alternative means of ruling and administering. Theologians were divided in their loyalty and beliefs. Blind faith, superstition or outright bullying tactics were the order of the day. The mighty monarch ruled with an iron fist till death or till he was deposed or treacherously killed. This lasted until the 14th century A.D. The Renaissance descended like a breath of fresh air everywhere in Europe. The media of books and theatres whetted the appetite of the peasants and royalty alike, but having promised the moon it still left a void in the hearts and minds of both. This was enough for fertile creativity to wind its way through the corridors of subtle extravaganzas prevalent with the royalty in its grotesque mismatches of high-handed aristocracy and ignoble reality of the suffering masses. In the circumstances, what better way to exploit the social anomalies than the dangling of the naughty albeit decent Francois, the poor but enigmatic pícaro, and the sleaze, the intrigue, the portrayal of social and political inequalities and hypocrisies, and the ambiguities of living in a exploitative system and the artistic means of its exposure. The situation was not all that entertaining. The metamorphosis from medieval to modern era claimed its share of intrigue, suspense and bloodshed. If it started with a simple laughter from the pages of Charles Sorel it also revolutionized France with staggering effect. The Renaissance factor Beginning from the 14th century, Europe witnessed an awakening that was to transform the way people thought and worked. Changes were beginning to happen economically, politically, in the field of art and religion, education, and these had their cascading effects on social and familial life. (Renaissance) The nature of transformation was epochal so much so that literature, scientific discoveries and inventions, sea voyages for discovery of new continents and regions, and even exploration of space by rockets became topics of great interest and research. There was a paradigm shift in the way people of all walks of life began to think. They dreamed! New and successful ideas, discoveries and inventions were fodder to their beliefs that nothing was impossible. (From Cyrano to Jean-Luc Picard) It was an awakening of continental proportion that initiated the preference for logic and reason as the ideal means to establish facts and find out truth. It also lent credence to the fundamentals of cause and effect as responsible for events, situations and actions. These concepts dramatically changed the ways of thinking and execution. They equipped science and literature with profound and effective insights and methodologies for developing theories and strategies. The freshness and originality of the contents in literature grabbed the attention of the common folk and the elite, and stirred emotions and intellect. The liberating force of renaissance is felt even today in every corner of the globe. Search for a New Order The gloom of the medieval times was drawing to a close, thanks to some events of history as well as awakenings in the fields of literature and science. Religious movements in Europe, discovery of gold and spices, progress in science and arts, and economic and political compulsions were some of the chief contributing factors to the search for a new order. During Renaissance, Europe was in the forefront of the new developments in economy, politics, literature and science. However, it was not a smooth affair, especially in countries like France where the ruling class obdurately continued to maintain their iron grip over destiny of the nation. Elsewhere in Europe also varying degrees of turmoil were felt due to the tussle for power between the church and the state. However, these were not allowed to veer out of control. France was a unique case where, unfortunately, the precepts of liberty were realized the hard way. The Undercurrents The concept of freedom and self-determination grew strong during renaissance. Starting from Italy, the movement spread out throughout Europe, particularly Western Europe. Discoveries and inventions by eminent scientists like Galileo and Sir Isaac Newton, and remakes of Greek and Roman arts through literature and drama by the likes of William Shakespeare encouraged bold and fresh insights in all the walks of life. Spain, Portugal, Britain and France made determined bids to expand their sphere of operation and influence throughout the world by economic and political means. However, their method and preparations for world conquests differed. France, in particular had the misfortune of unstable and quixotic ruling dispensations throughout the renaissance. She had not yet fully recovered from the economic disasters of her ill-conceived tryst with Russia and a hundred years’ war with Britain in the latter part of the medieval ages. Even during the renaissance, the air was unhealthy with murky goings on at the very top levels. There was an uneasy uncertainty about the capability of France, even though she was one of Europe’s greater powers, in bringing about the necessary modifications in her national affairs in order to save the masses from hunger and the nation from bankruptcy. The adroit acquainted with the way the winds were moving were busy preparing for doomsday whatever it was going to be, or whichever corner it was going to appear from. Soon the fragile strings that held the system together would snap, giving way to the most horrendous times of unrest the country had ever heard or seen. Those too busy enjoying the endless orgies could not care less one way or the other. Elsewhere, however, France was giving England, its global rival, a run for her money. Running neck to neck with her ambitious neighbor across the English Channel, France was at the height of fame and glory overseas negotiating trade and conquering territories in America, Africa and Asia. Nonetheless, the affairs at home were none too encouraging. The rich were getting exorbitantly richer at the cost of the poor reeling under the crushing demands of an unequal, lop-sided and erratic economy. The important issue of economic revival through austerity and discipline by the monarch and the nobles was unceremoniously passed on to the common man already reeling under the crushing burden of disproportionately high taxes and lack of food supplements to meet the daily needs. Those with conscience at the middle class level had no way of remaining neutral and too knowledgeable not to sense disaster around the corner. The times were reminiscent of the tragic events that preceded the closing chapters of the Greek superpower or the disintegration of the Roman era. Libertine Art The emergence of equality, liberty and fraternity from the French Revolution did not occur in a short period of time. It was gathering momentum with discontent and injustice brewing everywhere in the country and inexorably linked to the eventual virulent destiny. Injustice and arrogance do not last long. In the beginning the longsuffering citizenry allow time for remedies. They do not mind a few bruises here and there. They wait, they hope, they try and exhaust every conceivable means for solution. They are high on the belief that someone or something is bound to change the plummeting situation. They even allow the elements of reform to emerge from the still voice of reason finding expression through agencies like the arts and entertainment. In France, Theophilus de Viau took the initial steps toward portrayal of the libertine as a catalyst of change. In the process, he displayed a penchant for use of the promiscuity to promote the concept of liberty. He almost paid for it with his life. He ruffled feathers in the wrong places antagonizing the Catholic clergy and singing glories about Protestantism and atheism. He almost lost his life not so much for his licentious poems as the audacity in the use of its metaphor for freedom. The French aristocracy had little time for the finer aspect of arts except the proclivity to occupy the top slots of power and privileges. Art did flourish but under the bleary gaze of the insatiable royals whose condemnation of anything or anyone seen as threat, was swift and sure at the slightest sign of provocation. The poems of Theophilus were not exactly music to the suspicious royals who loved pomp and pleasure even if it had to be scrubbed from the bottom line. To the noble class, Theophilus’ poems were not sacrilegious, his erotic observations and liberal expositions were. The conservative moorings of the Catholic tenets were quoted to frown upon his espousal to freedom of expression and thought. The libertine period was in its nascence and in the minds of the aristocracy a passing phase that was supposed to buckle under the mighty power and machinations of the ruling class. Hitherto seen as invincible the ruling elite had no reason to feel concerned about the overwhelming potential of a contagious surge towards modernity and liberty the writers and dramatists of the day were espousing. The soft strains of a modern, liberal world touched chords in the hearts and minds of the toiling masses reeling under the clutches and bondage of painful servitude. To make matters worse, the creative powers of passion and pen were subtly attacking the very glamour and gaiety that was also turning France into the most stylish and fashionable entities in the world in general, and Europe in particular. On issues of mannerisms, etiquette, and decorations, France was second to none. Concerning creative art, the wily French writer had no qualms in using the aristocrats’ own stick to beat them with. Charles Sorel’s character, Francois, was a thorough gentleman in stark comparison to the blundering picaro. The Writers Influence Theophilus and Charles Sorel are alike in their approach to the utopian dreams of their readers. Theophilus directly quoted in poetic lines his inner desires for greener pastures. I want to make worms which are not constrained, To walk my spirit by small intentions, To seek secret places where nothing displeases to me, To meditate with leisure, to dream all with my ease, To employ a whole hour to reflect me in water, Ouïr as while thinking the race of a brook, To write in wood, to stop me, conceal to me, To compose a quatrain, without thinking of doing it. (Elegy to a lady) Sorel, on the other hand, carved utopia for every social strata. With him, what was sauce for the goose was sauce for the gander as well. His landscape was a bizarre free-for-all that had little to do with the main protagonist but lavishly choreographed characters of every shape and size and from every walk of life with deft strokes of the pen. Like a genius master painter, he set his prose with rich, colorful players taking potshots both at the mighty as well as the simplest Simon. If his choice of moral standards went below the dignity expected of writers in the Renaissance era, he tried to set the record straight in the editions that followed. But he still went for the jugular in the diluted versions. What distinguished Sorel from his contemporaries in France and elsewhere was, he was a little too loud in the comical representations of his characters. He was adept at overacting his characters. Their mannerisms, histrionics, exhibits, simplicity, idiosyncrasy, were lapped up by adoring readers and critics alike. Sorel’s presentations were high-pitched buffoonery that did not spare any individual en route. He could conjure up satires that were quick at the draw in pinpointing bunglers. And that was it! No elaborations! Innuendos were subtle and erotic elements with down-to-earth clarity evoking robust laughter were his trade secrets. (Jonathan Mallinson) Newness One of the characteristics in Sorel’s way of writing that set him apart was his ability to aim at perfection. He was sensitive to criticism and ready to make changes even at the twelfth hour. Three years after its first edition in 1623, La Vraie Histoire comique de Francion underwent some literary purification rites with additions and dilution to more acceptable level of the eroticism in the novel. The political conditions in France at the time did not allow Sorel to publish the book under his own name. One can neither cause people to laugh at themselves or laugh with them in debilitating conditions. Yet, he was deeply aware that there had to be a start to begin in the right direction. The impetus for a new beginning had to happen sooner than later. He was willing to walk any distance to achieve this purpose. Indeed, the third edition of his work La Vraie Histoire comique de Francion, in 1633 gave way to an ‘expurgated’ version, revealing Sorel’s sensitivity to moral issues. (Jonathan Mallinson) Sorel was outstanding in a generation that woefully lacked the will to call spade a spade. Although he is not well known like many other writers of his caliber, his credentials as a writer and thinker who sought to transform society through satirical presentations albeit with a subtle dash of eroticism. It is difficult to hide or gloss over the fact that he was greatly inspired by Theophilus. Like Theophilus, Sorel was obsessed with desires for changes to usher in the new dispensation. He had no use for the old and obsolete. In so high company where my spirit begins, Some new language would have to be invented, To take a new spirit, to better think and say That never the men and the Gods thought. (Elegy of a lady) The diversity and range of his characters reveal the tremendous reach and depth of his awareness and insight. The dignified personality of the main protagonist, Francois, whose roles are in the nature of observations and interactions with others, lend credence to Sorel’s inclinations towards dignity and self-respect. Dangerous Interludes Art, in all it expressive dimensions touching upon the senses of touch, audio-visuals, and literature serves as an effective precursor of the things to come. There is a prophetic element in poems and prose that has the capability of describing current events and tendencies with striking effect, accuracy and clarity; and at the same time provide a glimpse of the alternative emerging scenarios. It expounds the advantages of the right choices even if they are difficult momentarily, while expressing the grim consequences of indifference in the face of challenging odds. The evolution of any new phenomenon is an intricate combination of many factors of which literature is just one. Literature serves as a clarion call to the conscience of those whose minds are receptive to the demands of a new order. The task becomes impossible to achieve in relatively shorter period of time owing to the push and pulls in different directions by conflicting forces. Ultimately, however, the means determine the end. The French Revolution serves as an important example that there is a borderline beyond which it is not possible to carry on with anti-people policies. Successive upheavals in history, like the disintegration of the Soviet Union, are indications of the consequences of a suppressive regime. The natural forces dispense justice even if it is delayed. It is not possible to infinitely tinker with basic and moral issues without succumbing to the cardinal fundamentals of evolutionary tides. Currently, we are witness to the ravages of global warming and its debilitating effects on natural resources and environment. More seriously, the stage for more eventful, progressive and bold actions was set with the surging movements of literature and science used and abused by scheming royals and their ordinary citizenry. Sex and deceit, power, revenge, manipulations were masterminded and executed with diabolical deftness and disregard for consequence. Communication skills and human resource were not exactly sought after issues, but they gained tremendous utility in the precincts of the royal courts for selfish purposes and scandalous publicity. Choderlos de Laclos 1782 novel Les Liaisons Dangereuses reveals the extent an ambitious royal individual was capable of going to have her antagonist or rival humiliated and devastated. The twist and turns of fortunes, interludes, the conquests and disappointments, the heartaches are based on real life situations. (Michelle Erica Green) The ordeal suffered daily by the common man, the high handed actions and reactions of the authorities, and the conciliatory and sometimes mediatory roles played by the proponents of art and culture are usually the components that set off on the venture into new realms. Ominously, these are also the very components that figure in a violent revolution. The only difference being that in the case of the latter, there is much bloodshed. Conclusion The libertine is the perfect harbinger of change. The microcosm of freedom, equality and fraternity is perfectly blended in the character of libertine. Till date, the libertine occupies special place in the fields of literature and entertainment. The libertine is unlikely to qualify in an aptitude test of top moral performance or personalities. He is not likely to figure anywhere at the top academically on a scale of one to ten either, although he may hover around the centre. However, he could turn out to be the role model to watch in trying times and situations. In the saga of good versus evil, the libertine and his ilk hog the limelight with stellar performances of wit and valor. History has several classic examples. Robin Hood was one example. In every society and culture, it is difficult to think of a vibrant group without its libertines. It is not possible to slot them with conformists. They are different and walk to a different tune. The tune of freedom and equality sounds sweet to every ear. Bibliography: Elegy to a lady, Theoliphus de Viau, D:\Translation result for http--fr_wikipedia_org-wiki-Histoire_comique_de_Francion.htm. Ellit File, In Connection with Charles Sorel, Comic history of Francion, http://in.babelfish.yahoo.com/translate_url?trurl=httpAFFwww.rabac.comFdemoFELLITFDossiersFSorel.htm&lp=fr_en&.intl=in&fr=ush1-mail. From Cyrano to Jean-Luc Picard, Part I, The Conquest of Space, The French Wold Newton Universe, http://www.coolfrenchcomics.com/wnu9.htm. Jonathan Mallinson, French Literature Companion: La Vraie Histoire comique de Francion, Answers.com, http://www.answers.com/topic/la-vraie-histoire-comique-de-francion. Michelle Erica Green, Dangerous Liaisons (1988), Valmont (1989), Cruel Intentions, (1999), http://www.greenmanreview.com/film/film_valmont.html. Renaissance, Interactives, http://www.learner.org/interactives/renaissance. Read More