By category In 1599 the guild abandoned its privilege, which permitted other theaters and theatrical companies to operate in the capital. All these authors were eclipsed, however, by the international success of Honoré d'Urfé's novel l'Astrée (1607–1633). Pierre Bayle's Dictionnaire historique et critique (1695–1697; enlarged 1702), with its multiplicity of marginalia and interpretations, offered a uniquely discursive and multifaceted view of knowledge (distinctly at odds with French classicism); it would be a major inspiration for the Enlightenment and Diderot's Encyclopédie. Ruelle ("little street") refers to the space between a bed and the wall in a bedroom; it became a name for these gatherings (and the intellectual and literary circles evolving from them), often under the wing of educated women in the first half of the 17th century. [12] In most cases, the woman is killed, however in some cases couples are killed. His hilarious satires of avaricious fathers, précieuses, social parvenues, doctors and pompous literary types were extremely successful, but his comedies on religious hypocrisy (Tartuffe) and libertinage (Dom Juan) brought him criticism from the church; Tartuffe was only performed because of the king's intercession. Before 1664, literary gatherings were often called by the name of the room in which they occurred -- cabinet, réduit, alcôve, and ruelle. In an attempt to restrict the proliferation of private centers of intellectual or literary life (so as to impose the royal court as the artistic center of France), Cardinal Richelieu took an existing literary gathering (around Valentin Conrart) and designated it as the official Académie française in 1634. The best-known collection of traditional tales (liberally adapted) was by Charles Perrault (1697), although many others were published (such as those by Henriette-Julie de Murat and Madame d'Aulnoy). D’Avray 2005 is a useful introduction to the roots of marriage in medieval church law. According to canon law, girls could marry at the age of 12 and boys at the age of 14. Early theaters in Paris were often placed in existing structures like tennis courts; their stages were narrow, and facilities for sets and scene changes were often non-existent (this would encourage the development of unity of place). Many of these works were published anonymously; in some cases it is difficult to tell whether they are fictionalized or biographical. The following list is not exhaustive, but aims to cover most of the terms which would be unfamiliar to modern researchers. They had a child and secretly married. legal term used in 17th century wills a lot e.g. One of the key concepts of this new cuisine was the … [19], In Egypt, love marriages, especially interfaith marriages, are generally considered socially unacceptable. When the marriage was at a farm, the barn would be allotted for the dancing and the house for the drinking. The word salon first appeared in French in 1664 from the Italian word sala, the large reception hall of a mansion. comedies in five acts modeled on Plautus or Terence and the precepts of Aelius Donatus) were less frequent on the stage than tragedies and tragicomedies around the start of the 17th century; the comedic element of the early stage was dominated by farce, satirical monologues and by the commedia dell'arte. Tragedy deals with affairs of state (wars, dynastic marriages); comedy deals with love. The term "classicism" is also linked to the visual arts and architecture of the period where it is also known as Style Louis XIV, most specifically to the construction of the Palace of Versailles (the crowning achievement of an official program of propaganda and regal glory). As their legal status was similar to that of children, women were fully under the control of their father or guardian until they married, when control was passed on to their husband (Blackstone: 1788). Individuals in their forties and fifties during the 17th century were considered "old." Corneille's heroes, for example, have been labeled by modern critics as vainglorious, extravagant and prideful; however, contemporary aristocratic readers would see these characters (and their actions) as representative of nobility. The spectacle of power, prestige and luxury found in 17th-century literature may be distasteful or even offensive. The only element of d'Urfé's work which did not produce imitations was its roman pastoral setting. Throughout the 17th century this new concept transformed the image of the rude noble into an ideal of honnête homme ("the upright man") or the bel esprit ("beautiful spirit") whose chief virtues included eloquent speech, skill at dance, refined manners, appreciation of the arts, intellectual curiosity, wit, a spiritual or platonic attitude towards love and the ability to write poetry. Unity of place: The setting should not change. The stage—in both comedy and tragedy—should feature noble characters (this would eliminate many lowbrow characters, typical of farce, from Corneille's comedies). The linguistic aspects of the phenomenon associated with the précieuses (similar to Euphuism in England, Gongorism in Spain and Marinism in Italy)—the use of highly metaphorical (sometimes obscure) language, the purification of socially unacceptable vocabulary—was tied to this poetic salon spirit and would have an enormous impact on French poetic and courtly language. The Académy was dominated by the "Moderns" (Charles Perrault, Jean Desmarets de Saint-Sorlin) and Perrault's poem "Le Siècle de Louis le Grand" ("The Century of Louis the Great") in 1687 was the strongest expression of their conviction that the reign of Louis XIV was the equal of Augustus. Surrealism • Existentialism [5] These aristocratic values began to be criticised in the mid-17th century; Blaise Pascal, for example, offered a ferocious analysis of the spectacle of power and François de La Rochefoucauld posited that no human act—however generous it pretended to be—could be considered disinterested. Novelistic love had spilled into the epic, and adventurous knights had become the subject of novels. This process of state control of the arts and literature would be expanded even more during the reign of Louis XIV. These works carried on in the tradition of tragicomedy (especially the pièces à machines) and court ballet, and also occasionally presented tragic plots (or tragédies en musique). This would change in the 1630s and 1640s when (influenced by the long baroque novels of the period) the tragicomedy—a heroic and magical adventure of knights and maidens—became the dominant genre. Congregationalists, for instance, held that nothing in the Bible designated marriage as a religious rite; so they made it a civil affair, officiating by a magistrate and lacking the festivities of a Southern wedding. By 1660, the multi-volume, baroque historical novel had largely fallen out of fashion. It is more common to find issues relating to marriage and dowries discussed either in books on the history of the … Under the 1753 Marriage Act, anyone under 21 needed their parental permission to wed. Central to this transformation of literature were the salons and literary academies which flourished during the first decades of the 17th century; the expanded role of noble patronage was also significant. Glossary of terms found in 16th and 17th century Presentment Bills. When the action was placed in an historical setting, this was increasingly a setting in the recent past; although still filled with anachronisms, these nouvelles historiques demonstrated an interest in historical detail. This story centered on the shepherd Céladon and his love, Astrée, and combined a frame tale device of shepherds and maidens meeting, telling stories and philosophizing on love (a form derived from the ancient Greek novel "the Aethiopica" by Heliodorus of Emesa) with a pastoral setting (derived from the Spanish and Italian pastoral tradition from such writers as Jacopo Sannazaro, Jorge de Montemayor, Torquato Tasso and Giambattista Guarini) of noble, idealized shepherds and maidens tending their flocks and falling in (and out of) love. Authors include Madame Marie Catherine d'Aulnoy, Mlle Charlotte-Rose de Caumont La Force, Mlle Anne de La Roche-Guilhem, Catherine Bernard and Catherine Bédacier-Durand. In the 17th century, exile usually functioned as a death sentence: Battles take place off stage. [1][11], In Pakistan, arranged marriages are the norm and love marriage is rare in the society. Tragedy during the last two decades of the 17th century and the first years of the 18th century was dominated by productions of classics from Pierre Corneille and Racine, but on the whole the public's enthusiasm for tragedy had greatly diminished; theatrical tragedy paled beside the dark economic and demographic problems at the end of the 17th century, and the "comedy of manners" (see below) had incorporated many of the moral goals of tragedy. Many were successful, although the "irregularities" of his theatrical methods were increasingly criticized (notably by François Hédelin, abbé d'Aubignac); the success of Jean Racine from the late 1660s signaled the end of his preeminence. The realism (and occasional irony) of these novels would lead directly to those of Alain-René Lesage, Pierre de Marivaux and Abbé Prévost in the 18th century. If a woman never married, she would… In villages, the guests were at times divided into parties and feast spread over several houses. Unlike the chivalric romance, magical elements and creatures were relatively rare. Molière's Les précieuses ridicules was certainly based on an earlier play by Samuel Chappuzeau (best known for his work Le Theatre Francois (1674), which contains the most detailed description of French theatre during this period). The literature of this period is often equated with the Classicism of Louis XIV's long reign, during which France led Europe in political and cultural development; its authors expounded the classical ideals of order, clarity, proportion and good taste. Horn, James, Adapting to a New World: English Society in the Seventeenth Century Chesapeake (Chapel Hill: University of North Carolina Press, 1994), 206-207. In seventeenth-century England, marriage and sexual morals played a far more important social role than nowadays. French language, Medieval [6] Meanwhile, the tradition of the dark tale—coming from the tragic short story (histoire tragique) associated with Bandello, and frequently ending in suicide or murder—continued in the works of Jean-Pierre Camus and François de Rosset. This novel would be emulated by other didactic novels during the 18th century. Sometimes, if the weather were amenable, the event would be held on the green. Although French poetry during the reign of Henri IV and Louis XIII was still largely inspired by the poets of the late Valois court, some of their excesses and poetic liberties found censure—especially in the work of François de Malherbe, who criticized La Pléiade's and Philippe Desportes's irregularities of meter or form (the suppression of the cesura by a hiatus, sentence clauses spilling over into the next line—enjambement—neologisms constructed from Greek words, etc.). 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