« Ci-gît, enfin, un tyran ! », ou une épitaphe en tant que prophétie dans les Apologues modernes de Sylvain Maréchal (1789)

The purpose of this essay is to analyse a forgotten work by Sylvain Maréchal, a French political writer of the Enlightenment. Written on the eve of the French Revolution, his Apologues modernes heavily criticize the socio-political system of the French monarchy of Louis XVI. The analysis of his work proves that the author does not limit himself to criticising the situation before 1789, but he clearly predicts events of the forthcoming revolution and the resulting change. One could say that, like a true prophet, he foresees the end of the monarchy as such and proclaims the arrival of a new social and political order, a universal republic, not only in France, but in Europe in general.

A Comparative Study on the Appreciation and Adoption of Dijian tushuo in China, Korea, Japan, and France

Dijian tushuo (帝鑑圖說; The Emperor's Mirror, Illustrated and Discussed) is a book compiled by Zhang Juzheng (張居正, 1525-1582), a great scholar during the late period of the Ming Dynasty of China. The book was made for the education of Wanli Emperor (萬歷帝, r.1572-1620), who rose to the throne at an early age. It contains 117 stories about the virtuous and evil deeds of previous emperors, complete with illustrations and relevant articles. After its presentation to the emperor in 1572, several editions of the book were produced by the end of the nineteenth century, and copies were distributed to neighboring countries like Korea and Japan and even to France via Jesuit missionaries. There are copies of more than twelve extant woodblock-printed and lithographic editions in East Asia, as well as copies reprinted with copper plates in France. Also, copies of the book with color illustrations remain in China and France. In Korea, colored illustrations of Dijian tushuo are kept under different titles such as Gunwang jwaumyeong (君王左右銘; The King's Motto) and Dohae yeokdae gungam (圖解歷代君鑑; The Mirror of Rulers throughout the Ages, An Illustrated Explanation) at the Gyeonggi Provincial Museum and the Jangseogak, the archive of the Academy of Korean Studies, respectively. In China, Dijian tushuo formed part of the education of the crown princes during the Ming and Qing Dynasties. More than eight different editions were made by the flourishing commercial publication industry during the two dynasties. In Joseon royal court, the book was recognized as one of the didactic books for the discipline of kingship. As for Japan, the shoguns of the Edo Bakufu used the book to advertise themselves as ideal rulers or to make Chinese royal palace genre paintings as an exotic hobby. Isidore Stanislas Henri Helman (1743~1809), a French engraver, made reprinted copies of the book amid Chinoiseries popularized in eighteenth-century France. The French edition reflects not only the public criticism of King Louis XVI and Marie Antoinette but also Helman’s implicit intention to receive financial support from Marie Louise Josephin de Savoie and the Count of Provence (later Louis XVIII), first in line to the throne at the time. Dijian tushuo was adopted in various countries in East Asia and Europe between the end of the sixteenth century and the early twentieth century, although the way it was used differed from country to country depending on their respective political, social, and cultural situations. However, all these countries had one thing in common– they had future rulers read the book. Perhaps, the fact that it was written for the education of the crown princes of China served as the stimulus for leaders and intellectuals alike. Studies on the ways in which books like Dijian tushuo were distributed as an aggregation of knowledge, information, and culture are thought to be significant and useful in identifying certain characteristics shared by diverse countries and in shedding light on differences in their political and social backgrounds and their art history.

The World Changes

The chapter follows the progressive politicization of Colson and his neighbors during the so-called pre-Revolutionary period (1787–89), taking note of the extent to which he and they were taken totally by surprise by the events of that period. It examines, notably, Colson’s reaction to the Assembly of Notables of 1787; to the long struggle between Louis XVI and the Parlement of Paris; to the convocation of the Estates General for May 1789; and to the electoral assemblies and the statements of grievances (cahiers de doléances) drawn up in those assemblies. It also emphasizes Colson’s descriptions of the “hurricane” of July 1788 that destroyed a large proportion of the crops in northern France, and of the terrible winter of 1788–89 and its effects on the population of Paris.

Becoming a Radical

In this account of Colson and his neighborhood from the fall of 1791 through the early summer of 1793, the emphasis is on his slow, wavering evolution toward an increasingly radical position. Of particular importance as signs of Colson’s evolution were his changing attitudes toward, on the one hand, the Catholic Church and the clergy and, on the other, King Louis XVI. Though he had always practiced orthodox Catholicism before 1789, Colson came to support the Revolutionary reorganization of the church and the clergy embodied in the Civil Constitution of the Clergy. And though under the Old Regime he had always supported the king, he gradually turned against him after Louis’s attempted flight in 1791 and, above all, after war broke out between France and Austria in April 1792. Though he readily agreed with the overthrow of the monarchy in 1792, he would have preferred the imprisonment or exile of the king rather than his execution. Nevertheless, in 1793 he came strongly to support Robespierre and his faction of the Mountain in their struggle against the Girondins.

La Robe à la Française et la Robe l’Odalisque: Wearing women’s clothing in The Rose of Versailles

The androgynous heroine of Ikeda Ryoko’s manga The Rose of Versailles (1972–73), Oscar Françoise de Jarjayes, is usually depicted in masculine, specifically military, attire. The sixth daughter of an important military colonel during the reign of Louis XV and Louis XVI, Oscar is raised as a son and follows her father into the military. Oscar is only ever depicted in one dress, known as the robe l’odalisque – a gown that is adopted at a pivotal moment of character development. It is while wearing this dress, which Ikeda intended to serve as a wedding dress, that Oscar comes to terms with her unrequited love for Marie Antoinette’s lover, Count Axel von Fersen. In doing so, Oscar places more importance on her allegiance to France than to romance. This article investigates the complicated gender and social politics that are symbolized by the choice to wear women’s clothing in The Rose of Versailles.

Making a harpsichord sound like a piano

Following an apprenticeship with the Strasbourg-based Silbermann brothers, the young Sébastien Erard moved to Paris to begin building keyboard instruments. There he benefited from the patronage of the duchesse de Villeroy, who offered him a workshop, where he was soon joined by his brother Jean-Baptiste. The Erards’ success with pianos motivated them to find a way of giving harpsichords the same expressive possibilities. Their innovations were considered a threat by musical instrument makers and dealers in Paris, who specialised in the import and resale of English pianos. In 1785, Louis XVI granted the Erards a royal privilege exempting them from membership in the guild which governed the activities of Paris instrument builders.