#nicolas fouquet

[livesunique]

The cabinet of games, Château de Vaux-le-Vicomte, France

[gwydpolls]

Time Travel Question

Remember, nothing that would substantially change history. Pleasure only.

[rrredgi]

Quick ch. IV Father and son, and ch. LXXV In which Monsieur Fouquet acts (possibly to finish later)

I really like Raoul and Athos' interactions :( and in the second one Colbert nearly exploded from his anger which was hilarious

[captainsamta]

A series of mini portraits

[histoireettralala]

Entitlement and insecurity

Ever since his death, admirers as well as detractors of Mazarin have sought to deal with the implications of his inordinate private fortune, and the rapacity and illegality with which it was amassed around him. Not only did the stupefying global total of Mazarin’s assets and wealth —somewhere between 35 and 38 million livres— become known immediately after his death, but the political classes had been well aware that he had been relentlessly accumulating revenues, lands, benefices, and cash since 1653. The scale of his correspondence with his financial intendant, Jean-Baptiste Colbert; with his various financial agents; and with innumerable others with whom he had direct financial dealings leaves little doubt about the prioritization of this objective.

Most striking about Mazarin’s accumulation of wealth, however, was the extent to which he suborned the régime de l’extraordinaire itself to facilitate its accumulation. The correspondence of surintendant Fouquet with Mazarin, Colbert, and third parties throughout the financial upheavals, shortfalls, and scavenging of the 1650s makes evident both Fouquet’s enforced complicity and his simultaneous frustration. From 1655 he was working with what was in effect a shadow financial administration run by Mazarin, Colbert, and their clerks and agents, whose principal aim was to negotiate, profit, and exit at will from massively favourable financial contracts, which often cut across the deals that the surintendant needed to strike with broader groups of financiers. Historians have questioned the motives for accumulating a fortune on a scale not only far beyond contemporary rivals, including cardinal Richelieu, but greater than any other individual throughout the ancien régime. One motive was undoubtedly the insufficiently stressed sense of entitlement that was key to Mazarin’s character —the crown and the state owed him a vast obligation for his statesmanship and dedication to their service. Add to this the humiliation, discomfort, and danger that he suffered during the years of the Fronde and the entitlement was significantly increased. Yet paradoxically, entitlement ran hand-in-hand with a chronic insecurity about his future. As much as anyone else in France, Mazarin worried that the Fronde was the first act of a longer and unpredictable political drama. And unlike in 1651, when he allowed himself to be surprised by events and forced with minimal preparation into exile at Brühl, Mazarin from 1653 intended to prepare for any circumstance that might threaten his political control or force him out of France.

A huge chunk of Mazarin’s fortune at his death was composed of nearly nine million livres held in cash, a staggering sum given the general shortage of specie in circulation and the armies’ desperate need for cash during the last years of war. The largest parts of this hoard (more than two million and nearly 1.5 million livres respectively) were held close to the cardinal in Paris and deposited in Mazarin’s governor’s quarters at Vincennes. But other sums were spread amongst the frontier fortresses of Sedan (1.1 million), La Fère (600,000), and the port of Brouage (1.2 million), where Mazarin either was the governor himself or was confident of the governors in place. To this could be added at least two million livres of easily portable precious stones and jewellery.

Flight and prosperous exile was one evident possibility being contemplated by Mazarin. But so was the option of resistance and bargaining from a position of strength against whatever faction of ministers and grandees might seek to remove him from power. Since 1652 Mazarin had built a substantial private power base within France, controlling in person the frontier fortifications of La Fère, Philippsburg, and Breisach —the latter two contained within the governorship of Alsace, where he was governor following the 1654 demission of the comte d���Harcourt. He obtained the bishopric of Metz in 1652, and held it as an unconsecrated bishop. He added the lieutenant governorship of Metz in 1656, after the death of maréchal Schomberg, and consolidated his hold on the wider pays Messin with a series of appointments of his clients. On the western coast, by the end of the 1650s he held the governorships of La Rochelle, Brouage, Aunis, and the îles of Oleron and Ré. As the possessor himself of a formidable, interlinked network of coastal fortifications, or places de sûreté, Mazarin saw no reason to oppose Fouquet’s proposal to purchase and develop the port and fortifications at Belle Île, on the Breton coast. Yet at Fouquet’s trial in 1662–4, Belle Île was cited as prime evidence of his treasonable intentions.

Mazarin’s combination of entitlement and insecurity drove an acquisitive machine that continued through military crisis, the persisting downturn in climate conditions and agricultural productivity, and levels of crippling debt and impoverishment across France. It was compounded by a first minister who nonetheless constantly used the language of sacrifice, disinterested service, and personal poverty in such an exaggerated way as to excite the sarcasm, mockery, or contempt of the political classes. The mazarinades are a collective verdict on Mazarin’s self-representation as a tireless and selfless servant of the state. Of the reality, even Mazarin’s most sycophantic clients and allies were well aware. Without the mazarinades it might be possible to dismiss the self-parodying tone of much of Mazarin’s correspondence as baroque extravagance, more characteristic of the age than the man. Those mazarinades focused on the personality and political practice of the cardinal remind us that contemporaries drew the distinction. And although the physical evidence of the mazarinades could be largely suppressed as censorship became more effective from 1653, the way of thinking about Mazarin and the political culture he dominated continued through the 1650s. Leading by personal example, during and after 1652 Mazarin legitimized the predominant style of politics. His own calculations about motivation, advantage, and private benefit, barely shrouded by an overblown language of public service, all too easily provided a model for those around him, whose undeferential tone and self-interested actions took their cue from a minister who seemed to condone it through his own behaviour.

David Parrott - 1652: The Cardinal, the Prince, and the Crisis of the Fronde

[literally-just-there]

hello! since you're a history lover, I was wondering what historical facts/periods/events are some of your favourite and if there are any you like to talk with informant about?

Oooh thank you so much for this anon !! 😄💖

Overall I think Seeker and Info would talk a lot about pre-roman civilisations like the Etruscans or the Iceni, as well as the religious practices and beliefs of these populations. It is quite reminding of Darkwood's own history with the "Stars' People" and the numerous artifacts that were found and that confirm the presence of a prosperous civilisation thousands of years before the city they know today was founded.

As for me personally, my favourite topics to study are a bit miscellaneous, but how could I have it any other way when literally everything is an object of study !!

Now I have mostly studied French History, since it is where I live. My favourite period to study is the whole of the Middle Ages, but most particularly the period of the monastic and Gregorian reforms, as well as the establishment of the Peaces of God, which in my opinion is basically a form of medieval Geneva convention. I also love studying courtly love and its parts of truth and legend in society.

The historical figures I find most interesting to study are Hildegard von Bingen, Nicolas Fouquet, Joan of Arc, Louis XVI and Marie Antoinette, Napoleon I, Charles de Gaulle, Maximilien de Robespierre, Charlotte Corday, Lenin and Stalin.

I also like studying the different kinds of medieval combat gear, and the evolution of armors, and the different kinds of swords.

On a more contemporary note, I recently found an interest in wine counterfeiting between the late 19th century and the 1930's. Some recipes of those contained pokeweed for the coloration, if you know about pokeweed then you know that humans cannot digest it. Also some Californian counterfeiters used boxes labeled in French so that when the ships arrived in New York, it was thought that the wine really arrived from France. Feel free to research more about the subject, it's both fascinating and disgusting to know about the ingredients.

I also love reading about more somber theories, like whether Madame de Montespan actually had black masses performed on her to try to regain Louis XIV's affection, or the various identities attributed to the Man in the Iron Mask.

[thegreenwallrabbit-blog]

Explaining one of VTMB paintings (pt 5)

Pierre Séguier, Chancelier de France (translated Pierre Séguier, Chancellor of France) oil on canvas  2nd quarter of the 17th century (1660 - 1661) by Charles Le Brun

Charles Le Brun (baptised 24 February 1619 – 12 February 1690) was a French painter, physiognomist, art theorist, and a director of several art schools of his time. As court painter to Louis XIV, who declared him "the greatest French artist of all time", he was a dominant figure in 17th-century French art and much influenced by Nicolas Poussin Le Brun primarily worked for King Louis XIV, for whom he executed large altarpieces and battle pieces. His most important paintings are at Versailles. Besides his gigantic labours at Versailles and the Louvre, the number of his works for religious corporations and private patrons is enormous. Le Brun was also a fine portraitist and an excellent draughtsman, but he was not fond of portrait or landscape painting, which he felt to be a mere exercise in developing technical prowess. What mattered was scholarly composition, whose ultimate goal was to nourish the spirit. The fundamental basis on which the director of the Academy-based his art was unquestionably to make his paintings speak, through a series of symbols, costumes and gestures that allowed him to select for his composition the narrative elements that gave his works a particular depth. For Le Brun, a painting represented a story one could read.[1]

Pierre Séguier (May 28, 1588,- Jan. 28, 1672) was the chancellor of France under kings Louis XIII and Louis XIV, in the critical period during which monarchical power was consolidated. In 1635 Séguier became chancellor of France, the supreme legal officer, with tenure of that dignity for life. His adherence to the powerful cardinals Richelieu and Mazarin kept him in uninterrupted exercise of his functions until 1650. He was sent in 1637 to Val-de-Grâce to examine the papers of the queen of France, Anne of Austria, who was suspected of secretly corresponding with Spain. Some historians say he saved her by warning her of the investigation. In 1639 he was sent to supervise the repression of a revolt in Normandy. He presided in 1642 over the trial of the Marquis de Cinq-Mars, who was condemned to death for conspiring against Richelieu.During the revolt of the Fronde, Séguier, like many others, vacillated, and in the last phase of the Fronde in Paris he was aligned with the rebel princes until August 1652. During those troubles, he was twice relieved of his functions (1650–51 and 1651–56). Early in the personal reign of Louis XIV, in December 1662, he was put in charge of the trial of the finance minister, Nicolas Fouquet, who had been accused of embezzlement, and he conducted it brutally enough to secure a verdict against Fouquet. From 1665 he presided over the new Council of Justice for the reform of the legal system.[2]

This painting hangs in LaCroix's office next to his entrance way meaning it is one of the painting he looks directly at, and hangs next to the painting of Louis XIV en Empereur Romain [Louis XIV depicted as Alexander the Great] (second half of 17th century)  by Unknown artist. First off for someone who “was an officer in Napoleons army” he sure has a lot of  Royalists paintings. It is also of note as the only other large paintings of this scale that he has in his office are three different painting of Cain slaying his brother Able by different artist yet it is the paintings of  King Louis XIV (whose reign of 72 years and 110 days is the longest of any sovereign in history whose date is verifiable.) and his chancellor of France, Pierre Séguier that he looks directly at from his desk in his Versailles style office. Indicating that these mere HUMAN men*[as far as I know nether were embraced in VTM canon but don’t quote me] are more significant role models to Lacroix then Cane father of all vampires. Though this is not so surprising after you see how he reacts to the Ankaran Sarcophagus. It also gives us a brief glimpse into how LaCroix sees himself in his role as the Camarilla Prince of Los Angles calling back to his quote of being the “judge, jury and executioner”. 

[1] “Charles Le Brun .” Wikipedia, Wikimedia Foundation, 11 Mar. 2023, https://en.wikipedia.org/wiki/Charles_Le_Brun. 

[2] Britannica, The Editors of Encyclopaedia. "Pierre Séguier". Encyclopedia Britannica, 24 Jan. 2023, https://www.britannica.com/biography/Pierre-Seguier

[arrhakis]

Art Nouveau Jewelry - La Dame d'Aujac by Daniel Arrhakis (2023)

Ivory sculptured face, conch shell, gold, amber, amethyst, topaz and rubies. A Creative Art Nouveau Jewelry Necklace with a Baroque Steam Punk mood.

In the realm of jewellery, the Art Nouveau period (1890 to 1910), Which coexisted with the Victorian era and the Edwardian era, saw designers innovate crafting techniques and experiment with new materials.

Art Nouveau jewellery was ornate, reflecting the unrestrained beauty of the natural world, and did not rely on the preciousness of its components.

During this brief period, five jewelry designers (All Men) stood out amongst the rest for their masterful work : René Lalique (1860-1945), Henri Vever (1854 -1942), Georges Fouquet (1862-1957), Louis Comfort Tiffany (American) (1848 -1933), Lucien Gaillard (1861-1942), Joë Descomps (1872–1948), Karl Rothmüller (German) (1860–1930) etc

But also Women :

Charlotte Newman, also known as Mrs. Philip Newman (English) (1840–1927), was the first English woman to be recognized as a jeweler in the second half of the nineteenth century.

Her success in the traditionally male-dominated profession inspired many more women in the Arts and Crafts movement to become jewelers.

Elinor Evans Klapp (American) (1845-1915) the wife of a successful dry goods merchant, took up jewelry design in her early forties.

She soon made up for lost time by launching herself as one of the largest exhibitors in Chicago’s Arts and Crafts shows, and by sending forty pieces to the Paris Exhibition of 1900.

These series are a tribute to the women creators, artists who were so often forgotten during the Art Nouveau movement in an art world at the time dominated by men, like Elinor Evans Klapp, Charlotte Newman, Elisabeth Sonrel and others ...

The Mystery Of Jeanne Orianne De Levallois (1872 - 1951) A French Woman Jewelry Creator.

In this sense, I present to you for the first time Jeanne Orianne De Levallois (1872 - 1951) (*) Born in Rocamadour, a half-sister of Élisabeth Sonrel, whose existence was always kept secret by her paternal family.

It is not known to what extent her father Nicolas Stéphane Sonrel, a painter from Tours, partially influenced her drawing and painting skills, but unlike Élisabeth, her sister never showed her works, especially her series of jewelry that she designed in secret, signing with the name Jeanne Orianne De Levallois so as not to arouse any suspicion.

According to legend, Orianne, towards the end of her life, had moments of absence and lack of memory, it is believed that on one of these occasions she got lost in the Grotte des Merveilles and despite all efforts, it was never found until today.

Her notebook of drawings and sketches was only found recently, during a routine exploration of the Grotte des Merveilles.

In a recess of the cave was what appeared to be a thick notebook wrapped in furs and silks. In it were some of the most beautiful jewels ever created by any French jeweler.

It is these drawings that I present to you today in these series in a recreation created with the help of Artificial Intelligence and digital art. Hope you like it ! : )

(*) Mystery personage, stories and artistic collections created by Daniel Arrhakis.

(via Art Nouveau Jewelry - La Dame d'Aujac | Art Nouveau Jewelry … | Flickr)

[silver-whistle]

More on the Gautherot drawing of Max

I've found that it was exhibited in January 1848 at the Exposition de l'Association des Artistes, labelled as a sketch from life done at the Convention. A reference is also made to a painting in Saint-Albin's collection being by David… Now, the most famous Max portrait Saint-Albin had is the one of the same type as the drawing. I wonder if it's another case of the master being credited with a work by one of his pupils/atelier members, because the Berlin painting doesn't look like a David.

I'd love them to x-ray it, to see if the glasses have been overpainted/removed at some point.

The drawing is described, too, with an attribtion to Gautherot in 1882, in one of those rather trashy 'petite histoires' so popular at the time: Adolphe de Lescure's L' amour sous la Terreur:

C’est le Robespierre des derniers temps, usé, pâli, fatigué, peut-être découragé, mais guardant, au-dessus de ce troupeau de la Convention qu’il régente encore, cette allure roide, rogue et pédagogique qui persista chez lui jusque devant la mort. Il a teint blafard, les pommettes saillantes, l’œil cave où brille un regard gris; il porte l’habit nankine rayé de vert (c’est le quatrième connu); un gilet blanc, rayé de bleu; la cravate blanche, rayée de rouge. Le dessinateur a soigneusement noté ce costume, et il n’a eu garde d’oublier les besicles relevées (à l’envers) sur le front, aux ailes de pigeon décollées par la sueur oratoire; sueur de triomphe, près de devenir la sueur d’angoisse.

I don't think he realised that the softer wig-style is a fashion (we see it in the 1792 physionotrace), nothing to do with sweat relaxing the curls.

Gautherot was an active Jacobin, closely associated with Michel Le Peletier and Nicolas Maure. He also 'rectified' Fouquet's physionotrace from Le Peletier's death-mask for engraving.

[photocoeur]

Le château de Vaux-le-Vicomte a inspiré Versailles.

Nicolas Fouquet s’est entouré des meilleurs pour façonner ce domaine : Louis le Vau, Charles Le Brun et André Le Nôtre. Mais, attiser la jalousie de Louis XIV lui vaudra le bannissement. Les immenses jardins à la française allient perspectives, fontaines et jeux d’eau alors que le château nous transporte au XVII ième siècle. L’automne nous rattrape et un déluge de pluie nous fait quitter les…

[brookstonalmanac]

Events 9.5 (before 1950)

917 – Liu Yan declares himself emperor, establishing the Southern Han state in southern China, at his capital of Panyu. 1367 – Swa Saw Ke becomes king of Ava. 1590 – Alexander Farnese's army forces Henry IV of France to lift the siege of Paris. 1622 – A hurricane overruns a Spanish fleet bound from Havana to Cadiz and sinks the galleon Atocha. Only five men are rescued, but 260 passengers and 200 million pesos are buried with the Atocha under 50 feet of water. 1661 – Fall of Nicolas Fouquet: Louis XIV's Superintendent of Finances is arrested in Nantes by D'Artagnan, captain of the king's musketeers. 1666 – Great Fire of London ends: Ten thousand buildings, including Old St Paul's Cathedral, are destroyed, but only six people are known to have died. 1697 – War of the Grand Alliance : A French warship commanded by Captain Pierre Le Moyne d'Iberville defeated an English squadron at the Battle of Hudson's Bay. 1698 – In an effort to Westernize his nobility, Tsar Peter I of Russia imposes a tax on beards for all men except the clergy and peasantry. 1725 – Wedding of Louis XV and Maria Leszczyńska. 1774 – First Continental Congress assembles in Philadelphia. 1781 – Battle of the Chesapeake in the American Revolutionary War: The British Navy is repelled by the French Navy, contributing to the British surrender at Yorktown. 1791 – Olympe de Gouges writes the Declaration of the Rights of Woman and of the Female Citizen. 1793 – French Revolution: The French National Convention initiates the Reign of Terror. 1798 – Conscription is made mandatory in France by the Jourdan law. 1812 – War of 1812: The Siege of Fort Wayne begins when Chief Winamac's forces attack two soldiers returning from the fort's outhouses. 1816 – Louis XVIII has to dissolve the Chambre introuvable ("Unobtainable Chamber"). 1836 – Sam Houston is elected as the first president of the Republic of Texas. 1839 – The United Kingdom declares war on the Qing dynasty of China. 1862 – American Civil War: The Army of Northern Virginia crosses the Potomac River at White's Ford in the Maryland Campaign. 1877 – American Indian Wars: Oglala Sioux chief Crazy Horse is bayoneted by a United States soldier after resisting confinement in a guardhouse at Fort Robinson in Nebraska. 1882 – The first United States Labor Day parade is held in New York City. 1887 – A fire at the Theatre Royal, Exeter kills 186, making it the UK's deadliest ever building fire. 1905 – Russo-Japanese War: In New Hampshire, United States, the Treaty of Portsmouth, mediated by U.S. President Theodore Roosevelt, ends the war. 1914 – World War I: First Battle of the Marne begins. Northeast of Paris, the French attack and defeat German forces who are advancing on the capital. 1915 – The pacifist Zimmerwald Conference begins. 1932 – The French Upper Volta is broken apart between Ivory Coast, French Sudan, and Niger. 1937 – Spanish Civil War: Llanes falls to the Nationalists following a one-day siege. 1938 – Chile: A group of youths affiliated with the fascist National Socialist Movement of Chile are executed after surrendering during a failed coup. 1941 – Whole territory of Estonia is occupied by Nazi Germany. 1942 – World War II: Japanese high command orders withdrawal at Milne Bay, the first major Japanese defeat in land warfare during the Pacific War. 1943 – World War II: The 503rd Parachute Infantry Regiment lands and occupies Lae Nadzab Airport, near Lae in the Salamaua–Lae campaign. 1944 – Belgium, Netherlands and Luxembourg constitute Benelux. 1945 – Cold War: Igor Gouzenko, a Soviet Union embassy clerk, defects to Canada, exposing Soviet espionage in North America, signalling the beginning of the Cold War. 1945 – Iva Toguri D'Aquino, a Japanese American suspected of being wartime radio propagandist Tokyo Rose, is arrested in Yokohama. 1948 – In France, Robert Schuman becomes President of the Council while being Foreign minister; as such, he is the negotiator of the major treaties of the end of World War II.

[atul99]

What is the Difference Between "48 Laws of Power" and "The Concise 48 Laws of Power"?

Curious about the differences between Robert Greene’s comprehensive guide and its abbreviated version? If you’re fascinated by the realms of power, strategy, and influence, you’ve probably come across both "48 Laws of Power" and its streamlined edition, "The Concise 48 Laws of Power." But how exactly do these two versions vary, and which one is right for you? Let’s delve into their distinctions and discover which edition aligns best with your interests and needs.

Understanding "48 Laws of Power"

Background and Context

"48 Laws of Power" was published in 1998 and quickly became a seminal work in the realm of personal and professional strategy. Drawing on historical anecdotes and philosophical insights, Greene crafted a guide that delves deeply into the dynamics of power. This book is rich with detailed examples and comprehensive analyses that aim to provide readers with a profound understanding of power principles.

Core Principles

The book is divided into 48 laws, each illustrating a different facet of power. From "Never Outshine the Master" to "Crush Your Enemy Totally," each law is presented with historical examples, making it a treasure trove for those seeking to grasp the nuances of influence and strategy. The detailed explanations offer not only practical advice but also a historical perspective on power dynamics.

Popular Examples

Take Law 1: "Never Outshine the Master." Greene uses the example of Nicolas Fouquet, a French minister who was imprisoned for overshadowing Louis XIV. This detailed narrative helps illustrate the potential pitfalls of outshining those in power.

Exploring "The Concise 48 Laws of Power"

Background and Context

Released as a more digestible version of the original, "The Concise 48 Laws of Power" condenses Greene’s extensive content into a shorter, more accessible format. Aimed at readers who want to grasp the essentials without the deep dive, this edition provides a streamlined overview of the power principles.

Core Differences

While it covers the same 48 laws, the concise version eliminates the lengthy historical accounts and detailed explanations found in the original. It focuses on summarizing each law in a brief, straightforward manner, making it ideal for quick reference or a general overview.

Popular Examples

For instance, Law 1 in the concise version might simply state: "Never Outshine the Master," without the detailed historical context provided in the original. This approach ensures that the essence of each law is retained but without the depth.

Comparing the Two Versions

Length and Depth

The primary difference lies in the length and depth of content. "48 Laws of Power" offers an in-depth exploration with detailed examples and comprehensive explanations, while "The Concise 48 Laws of Power" provides a more abbreviated form, summarizing the key points for a quicker read.

Content Focus

The original book’s focus is on providing a thorough understanding of each law through rich historical narratives and extensive analysis. The concise version, however, strips down the content to the core principles, making it more suited for quick referencing rather than detailed study.

Accessibility and Usability

If you’re a student of power dynamics or looking for a deep understanding, the original "48 Laws of Power" is your go-to. On the other hand, if you need a handy reference or an overview to quickly grasp the core principles, "The Concise 48 Laws of Power" serves that purpose effectively.

Which Version is Right for You?

For Detailed Study

If you’re aiming for a deep dive into the strategies of power and influence, the full version of "48 Laws of Power" is definitely the better choice. Its detailed narratives and thorough explanations offer a richer understanding of each law.

For Quick Reference

Conversely, if you’re looking for a quick guide to the essential principles without the extensive detail, "The Concise 48 Laws of Power" will meet your needs. It’s perfect for a fast-paced world where time is of the essence, and you need just the basics.

Conclusion

In summary, the choice between "48 Laws of Power" and "The Concise 48 Laws of Power" largely depends on your goals and preferences. The original work offers depth and detail for a comprehensive understanding, while the concise version provides a quicker, more accessible overview. Both have their place and understanding their differences can help you select the right edition for your needs.

FAQs

1. Is "The Concise 48 Laws of Power" a good substitute for the original book?

It’s a good option if you’re looking for a quick summary, but it lacks the detailed analysis and examples of the original.

2. Can I get the same insights from the concise version as from the full version?

You’ll get the core principles but miss out on the in-depth explanations and historical context provided in the full version.

3. Which version is better for someone new to power strategies?

If you’re new to the topic, starting with "The Concise 48 Laws of Power" can provide a helpful overview before diving into the full version.

4. Are there any significant content changes between the two versions?

The main change is the level of detail and length. The core laws are the same, but the concise version simplifies the explanations.

5. How should I decide which version to read?

Consider your goal: for thorough understanding and detailed study, choose the original; for quick reference and an overview, opt for the concise version.

[gwydpolls]

Time Travel Question 42: Assorted Other Performances II

These Questions are the result of suggestions from the previous iteration.

All time periods welcome. (Yes we have Live Aid).

Please add new suggestions below if you have them for future consideration.

I am looking for Shakespeare play premiere's you'd particularly like to see.

Shakespeare Plays Have their own poll. For purposes of this poll, Early Modern will arbitrarily be 1500-1799.

[vivelafranceblog]

Château de Vaux-le-Vicomte

Château in Maincy

The south facade of the castle of Vaux-le-Vicomte seen from the "Rond d'eau" - Maincy (Seine-et-Marne, France)

Front des Schlosses Vaux-le-Vicomte 

The castle of Vaux-le-Vicomte, in Maincy (Seine-et-Marne, France): the south façade, as seen from the gardens. 

Vaux-le-vicomte : entrée et fossés

View of the gardens-Jardin du château de Vaux-le-Vicomte

The Château de Vaux-le-Vicomte is a Baroque French château located in Maincy, near Melun, 55 kilometres southeast of Paris in the Seine-et-Marne department of Île-de-France. 

Address: 77950 Maincy

Stories from the collection: Vaux le Vicomte, un chef d'oeuvre pas à pas. 

Architect: Louis Le Vau

Construction started: 1656

Founded: 1656

Once a small château between the royal residences of Vincennes and Fontainebleau, the estate of Vaux-le-Vicomte was purchased in 1641 by Nicolas Fouquet, an ambitious 26-year-old member of the Parlement of Paris. Fouquet was an avid patron of the arts, attracting many artists with his generosity.....

Vaux-le-Vicomte - Wikipedia

Vaux-le-Vicomte Castle, Maincy, France

[itsnothingbutluck]

….Theo nhà văn Erik Orsenna, các câu chuyện ngụ ngôn của nhà văn thế kỷ 17 tiếp tục khiến ta « sửng sốt », bởi chúng còn hết sức thời sự. Tác giả tâm sự : trong các câu chuyện ngụ ngôn của mình, La Fontaine nói lên những gì ông suy ngẫm về cuộc đời, về chính trị. Hơn 60 con vật trong các chuyện ngụ ngôn đã trở thành những « tấm gương », bạn đồng hành với ông, nói thay cho ông. « Về nhiều khía cạnh, triều đình của ông Vua Mặt Trời (Louis XIV) », như đã được La Fontaine phác họa, rất giống với « các tập quán sinh hoạt chính trị » đương đại. Các câu chuyện ngụ ngôn cho phép ông thoát khỏi hệ thống kiểm duyệt đã « rất tinh vi » thời đó. Cần nhấn mạnh là, La Fontaine sống vào cái thời của Vua Mặt Trời, người vốn coi các nghệ sĩ chỉ là « những nhân công », những kẻ phục vụ ngai vàng. Trong khi đó, nhà viết truyện ngụ ngôn lại ái mộ Nicolas Fouquet – người đứng đầu ngân khố triều đình – vốn coi các nghệ sĩ như « bạn hữu ». Quan hệ giữa La Fontaine và ông Vua Mặt Trời rất khó khăn, bởi với Louis XIV, Nicolas Fouquet là địch thủ, còn La Fontaine vẫn tiếp tục trung thành và sẵn sàng bảo vệ ông, ngay cả khi viên đại thần bị vua kết án tù chung thân.

Theo tác giả cuốn « La Fontaine : Trường học cuộc đời », ngụ ngôn của La Fontaine rất hiện đại, « bởi lòng người không đổi thay, giống như âm nhạc… Chuỗi đời biến động trên nền những giai điệu vĩnh cửu, của cái chết, tình yêu, sự tham tàn, lòng ham muốn… Những thất tình, lục dục. Với mỗi thời có thể có thêm những biến tấu mới, nhưng lòng người, xét tận đáy, vẫn là động vật. Có những điều rất giản dị, như ta có cảm thấy lạnh hay không ? ta sẽ phải chết hay không ? ta là kẻ mạnh hay không ? ta lớn hay nhỏ ?… ». …Nguồn cảm hứng bất tận

Cũng trong số báo về La Fontaine, L’Obs giới thiệu quan điểm của diễn viên hài Pháp Fabrice Luchini, người trình diễn các tác phẩm La Fontaine từ hơn 40 năm nay. Ông Fabrice Luchini không hề quan tâm đến khía cạnh đạo lý của ngụ ngôn La Fontaine, cũng như cuộc đời của tác giả. Cái vĩ đại duy nhất đáng chú ý ở La Fontaine là nghệ thuật ngôn từ, vừa mộc mạc, vừa tinh tế, công phu.

Đối với ông, tác giả các câu chuyện ngụ ngôn thế kỷ 17 ấy chính là « nhà văn vĩ đại nhất của nước Pháp », là « thiên tài Pháp ở trạng thái tinh ròng ». Tuy nhiên, theo ông, La Fontaine không còn dễ hiểu với xã hội đương đại. Các câu chuyện đa tầng, phức tạp của ông cần được « diễn giải lại toàn bộ », kể cả đối với người lớn. Đây hoàn toàn không phải truyện kể cho nhi đồng.

Trong khi đó, nhà văn Fabrice Pliskin nhìn thấy trong kho tàng ngụ ngôn La Fontaine nguồn cảm hứng bất tận, mà bất kể ai cũng có thể sử dụng, từ những người theo tư tưởng cánh tả, cấp tiến, cách mạng, hay phản cách mạng. Bài « Nếu La Fontaine trở lại… » nói đến một La Fontaine lên án thẳng thừng « sự điên rồ » của con người, những kẻ khai thác thiên nhiên một cách tàn bạo trong câu chuyện « Triết nhân xứ Scythie » (Philosophe scythe). Hay ngụ ngôn « Người và rắn » (L’Homme et la Couleuvre), lên án người mới là kẻ vô ơn chứ không phải rắn….