It is important for the audience to note that the events in “Quills” are not historically accurate, while the Marquis de Sade did indeed reside at Charenton Asylum under care of the Abbe de Coulmier, the graphic torture in the play did not actually take place in real life. The fact that the playwright, has taken a creative license with history is no matter since “Quills” is not meant as an accurate portrayal of the Marquis time at Charenton Asylum, but rather is a portrayal of the injustices of censorship. The Marquis persecution by the controlling regime is not simply due to the sexually explicit subject matter of his novels but more so the depiction of corruption within the clergy, the legal system, and conjointly those in positions of power. The Marquis propagated his ideas on the subjectivity of virtue and vice through his novels, focusing on the evils of absolutism whether for good or evil. A true libertine the Marquis rejected traditional views, preferring passion over consequence and viewing nature as the only true ruler of man.
Historically the Marquis de Sade was a French aristocrat and salacious author but there are few historical difference from the play. First of all by 1807, the year the play takes place, Renee Pelagie and the Marquis had already divorced and the Marquis had re married an actress who was allowed to live with him at Charenton Asylum during his second incarceration in 1803. The only harsh treatment of the Marquis at Charenton on record was under the Abbe de Coulmier, who was forced to put the Marquis in solitary confinement in 1809 as well as deny him parchment paper and quills, due to an police order that had been issued. Napoleon, who had gained control of the government by means of coup d’état becoming a militaristic dictator and eventually crowned himself emperor in 1804. Had risen to power through the coup of 18 and established the consulate which he ruled till restoration of the Bourbons’ in 1814. He enforced strict censorship, forcing all printers and booksellers to swear an oath of allegiance to him and all newspapers fell under his control. This display of Napoleons’ tight control of all reading materials and information available to the French people makes the Marquis defiance all the more notorious. Napoleon ordered the immediate arrest for the author of “Justine” which was published anonymously in 1803, the Marquis had boldly addressed a copy of the novel to Napoleon, further provoking his wrath. Thus giving insight to Napoleons’ motivation to keep the Marquis confined to Charenton Asylum in order to extinguish his writing as well as means of punishment for his insubordination.
The questions raised by “Quills” on censorship are just as much of an hot issue today as they were in the Marquis time. We are left to contemplate who is indeed responsible for Madeline Leclerc’s demise, the Lunatic who physically committed the act or the Marquis, whose words incited the riot? No less riveting is the blurred lines between good and evil, as the Marquis moves from purveyor of depravity to unlikely martyr, and the Abbe from irreproachably pure to radically violent. The extreme lengths the Doctor Royer Collard and the Abbe de Coulmier go to suppress the Marquis only serves as a dark warning on the treacherousness of inflicting radical procedures in the name of the greater good. The irony of the self righteous Doctor Royer-Collard ordering the Abbe de Coulmier to execute the gross atrocities that befall the Marquis simply because of his writing is hypocritical to say the least. Especially when one considers that the Marquis is being persecuted for putting ideas on paper and that his persecutors are actively inflicting forms of punishment that are depraved in nature, the very same offense (depravity) they see in the Marquis writing. Even more disparaging is the Doctors lack of accountability when his actions finally catch up with him, he manages to slither out of blame unscathed, simply washing his hands of the matter and citing the dispirited Abbe whose realization of his own actions has left him shaken to the core. The play is intended to leave the audience with questions on the supposed roles of good and evil and the roles censorship plays within our society. Simply put, who is more evil, those who purvey immoral ideas or those who attempt to censor those ideas at all cost?
Friday, August 7, 2009
Wednesday, August 5, 2009
Production Problems Posed by the Text
The greatest problem is the content of the script and making sure that the audience understands the deeper meaning of the play, and the questions on censorship and human nature that it raises. The play is intended for mature audiences, who should be informed of that prior to attending the show. The set itself has to be used to show the asylum, showcasing the office and the Marquis cell, as well as the home of the Dr Royer Collard. The costume department would need two identical costumes for the Marquis one of which would need to be covered in cursive with an ink that looks like blood for the scene in which the Marquis writes on his clothes in his own blood. Another problem would be how to tastefully display the nudity of the Marquis The aftermath of the Marquis torture is shown in the script, the makeup department would need to be able to show his lips sewn together, this make up would be applied in between scenes so a quick method would be needed. As well as show the Marquis after he has had his hands and feet removed. Madeline’s resurrection is another problematic scene, how physical should the actors get and does the Abbe commit the act or stop short? Another issue in this scene is the wall which must split to reveal the Marquis dressed as a Christ like a figure. The last issue would be how to show the Marquis coming back to life with his decapitated parts on the desk in the office of the asylum at the end of the show.
Production Problems Posed By Our Context
The first issue that we as a department would face would be the content of the play, as an academic institution we are aware that “Quills” is not about pornography but about censorship, however the social climate of Huntsville may be too caught up in the racy subject matter to appreciate the deeper issues of the play. From a production standpoint one of the most difficult issues would be how to handle the nudity since the university may be against it. The scene where Madeline is murdered and her body is shown to the audience hoisted up on ropes would be a safety issue as well as a financial one, since a flying team would have to be hired. Another difficult scene to stage is when the resurrection scene with Madeline and the Abbe, the sacrilegious use of the Christ like imagery with the Marquis as well as the Abbes’s sexual fantasy might be a little too heavy for the average Huntsville audience. This show would make for an interesting Summer Rep experience since our audiences tend to be smaller and comprised mainly of theatre students and other members of academia, who could appreciate the show and understand the message on censorship without being distracted by the otherwise graphic content.
Other Production’s Solutions
The problems posed in staging a show like “Quills” are many but with ingenuity they can be overcome. The foremost problem is the content of the show, pornography, violence, and nudity are not for the average theatre audience. Audiences should be well informed before the show that the play is very adult and that nudity is present. All posters and advertisements for the show should be labeled with such warnings and only those eighteen years of age or older should be admitted. The set which needs to show three different locations can be done with the use of lightening as done by the Luna-id company, who used light to illuminate the three different sections on the stage. Madeline’s death scene where she is hoisted up on ropes would need to use Flying by Foy in order for safety. The last scene where the Marquis different body parts come back to life could be achieved by using a special desk with holes for the actor to fit through.
Critical Response
“Quills” has been met with mixed reviews, while some critics found the script itself to be overwritten and verbose, others found the actors overly dramatic in the production they reviewed. Such as the New Rep’s production in 2005 that one critic felt was reduced to camp through bad acting, thus destroying the experience. The Luna-id company in 2005 was given a marginal review with the critic citing the script as the main culprit for the show not coming together. However Richard Corely’s production in ‘97 at the Unicorn Theatre hit the mark with the critic who reviewed the show, crediting great acting and good directing allowing the script to function and rouse the audience to be moved and raise questions about the human spirit, art, morality, and freedom of expression just as the playwright intended.
Sunday, August 2, 2009
Stages Repertory Theatre
Houston, Texas
October 1997- November 1997
Director Rob Bundy
Scenic Designer Elva Stewart
Costume Designer Rodica Mirea
In Quills, the Marquis de Sade, played with tremendous intelligence, wit and theatrical grace by William Hardy, has been locked away in the Charenton asylum because he authored "a tale so pornographic that it drove men to murder and women to miscarry." The asylum, in this production, is a beautifully frightening dungeon of a place, complete with iron-barred doors that rise up on chains, vicious-looking hanging cages and underground cells. The inmates chatter, chant and giggle off-stage; the lights are dim and damp and the whole world created is macabre, gothic and very creepy. De Sade spends his time in a cell with little to do, and as a result writes as furiously as he ever did when he was free. And his tales are still prurient, violent and horrific, much like the world he now occupies.
Lee Williams, TheHouston
November 6, 1997
Houston, Texas
October 1997- November 1997
Director Rob Bundy
Scenic Designer Elva Stewart
Costume Designer Rodica Mirea
In Quills, the Marquis de Sade, played with tremendous intelligence, wit and theatrical grace by William Hardy, has been locked away in the Charenton asylum because he authored "a tale so pornographic that it drove men to murder and women to miscarry." The asylum, in this production, is a beautifully frightening dungeon of a place, complete with iron-barred doors that rise up on chains, vicious-looking hanging cages and underground cells. The inmates chatter, chant and giggle off-stage; the lights are dim and damp and the whole world created is macabre, gothic and very creepy. De Sade spends his time in a cell with little to do, and as a result writes as furiously as he ever did when he was free. And his tales are still prurient, violent and horrific, much like the world he now occupies.
Lee Williams, The
November 6, 1997
Shadowmen
Trapdoor Theatre
Chicago, IL
October 2008- November 2008
Director Scott McKinsey
Scene, Lighting, & Sound Design: Scott McKinsey and Dave Sweeny
Costume Design: Lauren Yearsich and Jordan Kohl
The Shadowmen make their debut with this intermittently interesting but far too cautious revival of Doug Wright’s study of the Marquis de Sade’s last days at the Charenton asylum. There are plenty of reasons to re-examine Wright’s central concern—what kind of control, if any, should the state exert over the troubling speech of its citizens? The show gets off to a slow start, and the dramatic stakes in Scott McKinsey’s production don’t build as inexorably as they should, though it is markedly better in the second act than the first.
Kerry Reid, The Chicago Tribune
October 24, 2008
Doug Wright's 1995 play about the Marquis de Sade's final days, spent in a crumbling insane asylum where an authoritarian doctor and a compassionate priest conspire to quash his degeneracy, has only one point to make: those devoted to stamping out violence and indecency invariably resort to the very tactics they condemn. But Wright explores his one issue with enough subtlety and ingenuity to generate two compelling hours of theater--before squandering his final 30 minutes on a lot of obvious, facile conclusions. Director Scott McKinsey's bare-bones Shadowmen production looks like it was thrown up with stuff someone found in the alley, but the leads in this mostly satisfying show tell Wright's story with passion and intelligence.
Justin Hayford, Chicago Reader
http://events.chicagoreader.com/events/Event?oid=856929
Trapdoor Theatre
Chicago, IL
October 2008- November 2008
Director Scott McKinsey
Scene, Lighting, & Sound Design: Scott McKinsey and Dave Sweeny
Costume Design: Lauren Yearsich and Jordan Kohl
The Shadowmen make their debut with this intermittently interesting but far too cautious revival of Doug Wright’s study of the Marquis de Sade’s last days at the Charenton asylum. There are plenty of reasons to re-examine Wright’s central concern—what kind of control, if any, should the state exert over the troubling speech of its citizens? The show gets off to a slow start, and the dramatic stakes in Scott McKinsey’s production don’t build as inexorably as they should, though it is markedly better in the second act than the first.
Kerry Reid, The Chicago Tribune
October 24, 2008
Doug Wright's 1995 play about the Marquis de Sade's final days, spent in a crumbling insane asylum where an authoritarian doctor and a compassionate priest conspire to quash his degeneracy, has only one point to make: those devoted to stamping out violence and indecency invariably resort to the very tactics they condemn. But Wright explores his one issue with enough subtlety and ingenuity to generate two compelling hours of theater--before squandering his final 30 minutes on a lot of obvious, facile conclusions. Director Scott McKinsey's bare-bones Shadowmen production looks like it was thrown up with stuff someone found in the alley, but the leads in this mostly satisfying show tell Wright's story with passion and intelligence.
Justin Hayford, Chicago Reader
http://events.chicagoreader.com/events/Event?oid=856929
Theatre Pro Rata
Loading Dock Theatre
St Paul, MN
April 2007- May 2007
Director Zach Morgan
Coustume Designer Carin Bratlie
Lightening Designer Stephanie Drinkard
There's a lesson here about the cruelty that's inherent in stifling expression. Yet you're likely going to walk away from this Theatre Pro Rata production without really finding it. (Fans of the script—or mature individuals in need of a little more pain—might refer to the 2000 film version, starring Geoffrey Rush.) Raney is effective as the craven administrator, and Benston applies a sharp mercenary tone. But Henriksen fails to convey the way that the Abbe absorbs both de Sade's abusive streak and the exhilarating rush that accompanies it. And Chambers doesn't entirely suggest the philosopher beneath the pervert. The blood flows, the ladies blush, but it's hard to see the point by the end.
Quinton Skinner, City Pages
May 9th 2007
The intersection between art, profanity and the influence both have on the reader lie at the heart of Doug Wright's Quills. His tale of the Marquis de Sade and the lengths his jailers would go to silence him get an intriguing if frustrating reading from Theatre Pro Rata. While the staging and overall direction of the production are first rate, a couple of weak performances threaten to unweave the uncomfortable spell created by the script.
Ed Huyck, Talkin' Broadway Regional News & Reviews
http://www.talkinbroadway.com/regional/minn/minn191.html
New Rep
Mosesian Theatre
January 5th 2006 -February 6th 2005
Scenic Design: Richard Chambers
Sound Design: Rick Lombardo
"The play’s central tensions were often diluted by gratingly overwrought acting. Pivotal scenes were reduced to camp. Director Rick Lombardo’s attempt to question individual rights, the nature of madness, and censorship are as germane as ever but are bled dry by his overly theatric production. Thus, a good play lost its e”quill’ibrium"
Pt at large
January 30, 2005
http://ptatlarge.typepad.com/2005/01/quills_a_play_1.html
Wilma Theatre Company
Director: Blanka Zizka
June 1997 - July 1997
Set Design: Jerry Rojo
Composer/Sound Design: Adam Wernick
"Quills has beeen given a smashingly theatrical production by director Blanka Zizka and a first rate design team. Jerry Rojo's witty set allows the action to proceed on two levels with the marquis' cell pearched atop the office in which the Doctor and Abbe vent their mounting frustration."
Clifford A. Ridley, Philadelphia Inquirer
June 13, 1997
Trap Door Company
Trap Door Theatre
Director: Beata Pilch
Chicago, IL
January 2002
Set Design Consultant: Joey Wade
Lighting Design: Richard Norwood
"And if there's an opportunity to underscore the shocks with a live band of faux lunatics pounding away on guitar and percussion between spoken lines, then so much the better for the Trap Door types."
Chris Jones, Chicago Tribune
January 23, 2002
"De Sade's captors and would-be reformers (John Gray as Dr. Royer-Collard and Sean Marlow as the Abbe de Coulmier) are really more ruined and corrupted protagonists than villains, and de Sade himself (Wesley Walker) is the apotheosis of sadist antihero, both corrupter and martyr. All three actors do marvelous work, especially Marlow, of whom the most is asked (aside from Walker, who calmly displays the Full Marquis for at least an hour). Nicole Wiesner, in a lovely double turn, is equally affecting as ingenue and emasculating coquette. Joey Wade's set design transforms the stage into giant sheets of longhand-filled parchment, reinforcing the script's subordination of character to text; the sound track, played live by Julius Dobiesz, Carl Wisniewski, and Rob Szymczak, is a slick combination of ambient and incidental effects. Beata Pilch's direction is adept throughout, but in the second act her grisly yet beautiful tableaux achieve a rare, searing memorabilit"
Brian Nemtusak, Chicago Reader
January 24, 2002
Berkshire Theatre Festival
Unicorn Theatre
Stockbridge, MA
August 2008
Director: Richard Corley
Designers:
Set Designer: Emmet Aiello
Costume Designer: Daryl A. Stone
Eyse Sommer, Curtain Up
http://www.curtainup.com/quills.html
Statement: The World of the Quills
The notorious Marquis de Sade infamous for his salacious novels and multiple imprisonments for publishing his libertine works, gives perspective on the examination of censorship, raising the question, which is more corrupt, an immoral work or those that attempt to censure it? The play is set during the Marquis second incarceration at Charenton, after the anonymous publication of his novel “Justine & Juliette” which he tongue in cheek dedicated to Napoleon, sealing Napoleons resolve to put an end to the Marquis writing.
The play takes place in 1807 in France at the Charenton Asylum. Napoleon is Emperor and France is thriving under his control. It is important to note not just Napoleons’ rise to power but also the events prior to that which led to the revolution that enabled Napoleon to gain power and the political climate which influenced the characters in the play, the Marquis de Sade in particular.
During Louis XI reign the country fell into deep debt not only due to the extravagance of his court but also because of his involvement in the American Revolution to which he sent financial aid and troops. Ironically the success of the Americans inspired the French to start their own revolution. Which they would win and effectively overthrow the monarchy but instead of things becoming better for the French people they would become worse, the extremist side of the revolution would gain control and thousands would be slain at the guillotine for supposed crimes against the revolution without due process. This time period would come to be known as the Reign of Terror. This affected the Marquis greatly for he had been put jail under the rule of Louis X1 but was freed by the Revolutionaries, then once again imprisoned by them as he states in his monologue in Act One.
Part of the fervor to overthrow the monarchy was the perceived decadence of the aristocracy however once the monarchy was overthrown an interesting piece of legislation was put into place by the Bureau des Moeurs in 1802 legalizing prostitution in France which had previously been illegal. The irony of allowing brothels and prostitution to physically take place but banning the Marquis writings is absurd and gives great insight to the Marquis outrage of not being permitted to write. Though the nature of his writings was violent and sexual they are just writings not doings, yet the severity of his prosecution is disparaging, since the regime legalizes acts of debauchery with one hand and persecutes ideas that have not been committed, only put to paper with another.
Napoleon would come to power through the coup of 18 and crown himself Emperor in 1804 reestablishing the court extravagance of the old monarchy which also shows his hypocrisy to take part in the revolution only to reestablish a monarchy of his own. Napoleon feared the common people reading the Marquis novels due to the Marquis depiction of the clergy. Napoleon believed that religion kept the people meek and easy to control, anything that would make them question religion or debase it Napoleon saw as a threat. Furthermore the literacy rates were climbing in France due to education reforms Napoleon had set in place giving him greater motivation to control what the country was reading. He even controlled all newspapers and every bookseller and publisher was made to swear an oath of allegiance to him. Censorship is the central theme of the play and the Marquis defiance is all the more courageous once the audience is aware of exactly what the Marquis was dealing with when it came to publication of his novels.
The director at Charenton at the opening of the play is the Abbe de Coulmier, whose gentle approach to his wards greatly contrasts with the popular methods of the era, torture termed as therapy in the forms of terror baths, straitjackets and wicker cages. These supposed methods were thought to cure insanity and were used widely at the time despite lack of results.
It is interesting to note that during the year 1807 in which the play takes place France is in the midst of the War of the Fourth Coalition, which led to the Anglo-Russian War these wars mirror the Marquis own struggle at Charenton Asylum. The Marquis desired his freedom to write and defied his oppressors at all cost just as the nations of the Fourth Coalition fought Napoleons' oppression of Europe desiring nothing more than to be free.
The play takes place in 1807 in France at the Charenton Asylum. Napoleon is Emperor and France is thriving under his control. It is important to note not just Napoleons’ rise to power but also the events prior to that which led to the revolution that enabled Napoleon to gain power and the political climate which influenced the characters in the play, the Marquis de Sade in particular.
During Louis XI reign the country fell into deep debt not only due to the extravagance of his court but also because of his involvement in the American Revolution to which he sent financial aid and troops. Ironically the success of the Americans inspired the French to start their own revolution. Which they would win and effectively overthrow the monarchy but instead of things becoming better for the French people they would become worse, the extremist side of the revolution would gain control and thousands would be slain at the guillotine for supposed crimes against the revolution without due process. This time period would come to be known as the Reign of Terror. This affected the Marquis greatly for he had been put jail under the rule of Louis X1 but was freed by the Revolutionaries, then once again imprisoned by them as he states in his monologue in Act One.
Part of the fervor to overthrow the monarchy was the perceived decadence of the aristocracy however once the monarchy was overthrown an interesting piece of legislation was put into place by the Bureau des Moeurs in 1802 legalizing prostitution in France which had previously been illegal. The irony of allowing brothels and prostitution to physically take place but banning the Marquis writings is absurd and gives great insight to the Marquis outrage of not being permitted to write. Though the nature of his writings was violent and sexual they are just writings not doings, yet the severity of his prosecution is disparaging, since the regime legalizes acts of debauchery with one hand and persecutes ideas that have not been committed, only put to paper with another.
Napoleon would come to power through the coup of 18 and crown himself Emperor in 1804 reestablishing the court extravagance of the old monarchy which also shows his hypocrisy to take part in the revolution only to reestablish a monarchy of his own. Napoleon feared the common people reading the Marquis novels due to the Marquis depiction of the clergy. Napoleon believed that religion kept the people meek and easy to control, anything that would make them question religion or debase it Napoleon saw as a threat. Furthermore the literacy rates were climbing in France due to education reforms Napoleon had set in place giving him greater motivation to control what the country was reading. He even controlled all newspapers and every bookseller and publisher was made to swear an oath of allegiance to him. Censorship is the central theme of the play and the Marquis defiance is all the more courageous once the audience is aware of exactly what the Marquis was dealing with when it came to publication of his novels.
The director at Charenton at the opening of the play is the Abbe de Coulmier, whose gentle approach to his wards greatly contrasts with the popular methods of the era, torture termed as therapy in the forms of terror baths, straitjackets and wicker cages. These supposed methods were thought to cure insanity and were used widely at the time despite lack of results.
It is interesting to note that during the year 1807 in which the play takes place France is in the midst of the War of the Fourth Coalition, which led to the Anglo-Russian War these wars mirror the Marquis own struggle at Charenton Asylum. The Marquis desired his freedom to write and defied his oppressors at all cost just as the nations of the Fourth Coalition fought Napoleons' oppression of Europe desiring nothing more than to be free.
Production History
Luna-id
DBS Art Cennter
Singapore
October 2005
Director: Samantha Scott-Blackhall
Designers:
Production Designer: Sebastian Zeng
Costume Designer: Lai Chan
"She was, of course, assisted greatly in this by Sebastian Zeng's wonderful set, which managed to split the DBS Arts Centre's not-overlarge stage into three distinct areas without cramping it, and which provided a rich playground for the actors. The set came into its own at the end, when its rough-hewn black columns glowed a hellish red and Suven Chan's shafts of light separated the saved from the damned. (And if the set furniture was a little more Ikea than Napoleonic, we'll just put that down to budget constraints.)"
Matthew Lycon, The Flying Inkpot
October 2005
DBS Art Cennter
Singapore
October 2005
Director: Samantha Scott-Blackhall
Designers:
Production Designer: Sebastian Zeng
Costume Designer: Lai Chan
"She was, of course, assisted greatly in this by Sebastian Zeng's wonderful set, which managed to split the DBS Arts Centre's not-overlarge stage into three distinct areas without cramping it, and which provided a rich playground for the actors. The set came into its own at the end, when its rough-hewn black columns glowed a hellish red and Suven Chan's shafts of light separated the saved from the damned. (And if the set furniture was a little more Ikea than Napoleonic, we'll just put that down to budget constraints.)"
Matthew Lycon, The Flying Inkpot
October 2005
Saturday, August 1, 2009
La vestale (The Vestal Virgin) is an opera composed by Gaspare Spontini to a French libretto by Etienne de Jouy. It was first performed at the Paris Opéra in Paris on December 15, 1807.La vestale is a famous opera in historical terms but is only very infrequently performed.
The following link is an aria performed by Maria Callas
http://video.google.com/videoplay?docid=-5121840669692223562
The following link is an aria performed by Maria Callas
http://video.google.com/videoplay?docid=-5121840669692223562
Macro View of "Quills"
American Revolution 1783
The French helped out the U.S. in the American Revolutionary war monetarily as well as actively sending troops. It is ironic that King Louis XI helped the US to gain Independence when in a few years he would be overthrown by his own subjects seeking their independence. The success of the American Revolution inspired the French Revolution, and the financial losses due the money spent on giving aide to America were major contributor to the fiscal crisis which started the French Revolution. This is important to understanding the French Revolution and the Characters in "Quills" who have lived through this turmoil.
http://en.wikipedia.org/wiki/France_in_the_American_Revolutionary_War
French Revolution 1789-1799
Although this happened a eighteen years prior to the play it is vital to understanding the world of the play, because this event changed France forever. The dissolution of the aristocracy put the French people in control of their government, unfortunately instead of things becoming better for the people the extremist side of the revolution gained control. This led to the “Reign of Terror” in which thousands of people were executed for supposed crimes against the revolution. This political uphevel would have had strong affects on all the characters especially on the Marquis who refers to all these happening in the play.
http://www.answers.com/topic/french-revolution
Moral Code 1802
Prior to the French Revolution royal decrees’ had outlawed prostitution but after the revolution all of this had to be reassessed, the Bureau des Moeurs stepped into this position legalizing it once again. It was said that the bureau was the model for toleration of prostitution. This is very ironic for part of the peoples beliefs at the time was that the aristocrats were sexually deviant but here the very reformers were allowing prostitution. It is important to understanding the Marquis de Sade’s views on governments being hypocritical which are expressed in the play and his Libertinism.
http://prostitution.procon.org/viewresource.asp?resourceID=000117
Napoleon
Napoleon gained control of the government by means of coup d’état becoming a militaristic dictator and eventually crowned himself emperor in 1804. His rise to power through the coup of 18 and established the consulate which he ruled till restoration of the Bourbons’ in 1814. He forced all printers and booksellers to swear an oath of allegiance to him and all newspapers fell under his control. This displays Napoleons’ tight control of all reading materials and information available to the French people. It also gives greater insight to Napoleons’ censorship of the Marquis in “Quills”, it is the Marquis defiance of censorship that gives his tormentors cause to thwart him.
http://www.historyguide.org/intellect/lecture15a.html
Religion in France in 1807
Although Catholism was the favored religion in France it was not the state religion. Napolean himself believed that religion was just the cement to hold society together, because it prompted unity among the classes and it kept people mild and calm instead of independent. He also allowed Jews and protestants to practice freely. Napoleons’ view of religion as a means to control the people is important because the Marquis writing undermined the church, the Marquis saw the church as corrupt and hypocritical. This would be dangerous to Napoleon since he viewed the church and religion as way to control the people. For if people began to read the Marquis and even so much as begin to question the church they (the people) would be harder to control. So we can understand why Napoleon was threatened by the marquis use of religion in his writings.
http://www.historyguide.org./intellect/lecture15a.html.
Literacy in 1807
Prior to the French Revolution the aristocrats and members of the educated elite felt that peasants or common people only needed to know what was necessary for their daily tasks. That if they were educated it might make them aware of their place and thus unhappy with their lives and then possibly dangerous to those in charge. After the French Revolution when Napoleon came to power he set up free compulsory elementary education. Understanding that the common people could read is important because it was that fact that caused Napoleon to want to control all the materials made available to the public. This censorship is what "Quills" is essentially about.
http://www.nald.ca/fulltext/athomas/aduill/page31.htm
Popular Author in 1807
Sophie Ristaud Cottin was an extremely popular French sentimental novelist of the early 1800s. Her most famous work “Elisabeth ou les Exiles de Sibene” published in 1806, was said to be very romantic story yet very moral. It is notable to the world of the play to know what was popular reading material read at the time. Cottin’s work obviously greatly contrast the Marquis in many was.
http://www.answers.com/topic/sophie-ristaud-cottin
War of the fourth Coalition 1806-1807
The fourth coalition against France was made up by Prussia, Russia, Saxony, Sweden, and the UK. August of 1806 King Fredich Wilhelm III of Prussia goes to war with Russia against France. Napoleon’s forces won with ease, the French took control of Poland and made it a new state, then Napoleon fought the remainder of the Russian army to capture the Prussian capital at Kohlgsberg. Russia was defeated and had to make peace with Napoleon at Tilsalt with the treaty of Tilsalt July 7,1807. These conflicts were going on at the same time the Marquis is waging his own war of wills, like the countries Napoleon is fighting for dominance the Marquis wants to be free to write in peace.
http://en.wikipedia.org/wiki/Napoleonic_wars
Anglo-Russian War 1807
Apart of the Napoleonic wars, started due to the Treaty of Tilstmith between Russia and France, Russia had to close off maritime trade with the United Kingdom as part of the agreement. Napoleon wanted to hurt the UK economically as he could not match them in a sea attack. Russia proceeded to declare war on UK in 1807 after the UK attacked Denmark in September of 1807. This war is important because this war was going on at the time the play is taking place.
http://en.wikipedia.org/wiki/Anglo-Russian_War_(1807-1812)
Aaron Burr Trial 1807
In 1807 Aaron Burr an American political leader was arrested on charges of treason, it was speculated that he wanted the west to break off from the US and start its own government these allegations were never proved and Burr was acquitted but his name was ruined. This is notable for Burr’s prosecution takes place the same time “Quills” is set and just like the Marquis, Burr is persecuted unjustly.
http://www.nndb.com/people/184/000022118/
Phrenology
The pseudoscience, as its referred to today, was brought to France in 1807 by its founder Dr. Franz Joseph Gall. He claimed that emotional and intellectual functions could be deduced by the placement and size of bumps on a patients skull. This practice is referred to by Doctor Royer-Collard at the end of the play, the Abbe's release is dependent on the findings of the phrenologist that the Doctor is sending the Marquis skull to. The fact that the Abbe's fate depends on a science that we know today does not have any scientific evidence to back up shows the atrocity of the socitey that thinks it knows what it is doing but clearly has faith in the wrong methods.
The French helped out the U.S. in the American Revolutionary war monetarily as well as actively sending troops. It is ironic that King Louis XI helped the US to gain Independence when in a few years he would be overthrown by his own subjects seeking their independence. The success of the American Revolution inspired the French Revolution, and the financial losses due the money spent on giving aide to America were major contributor to the fiscal crisis which started the French Revolution. This is important to understanding the French Revolution and the Characters in "Quills" who have lived through this turmoil.
http://en.wikipedia.org/wiki/France_in_the_American_Revolutionary_War
French Revolution 1789-1799
Although this happened a eighteen years prior to the play it is vital to understanding the world of the play, because this event changed France forever. The dissolution of the aristocracy put the French people in control of their government, unfortunately instead of things becoming better for the people the extremist side of the revolution gained control. This led to the “Reign of Terror” in which thousands of people were executed for supposed crimes against the revolution. This political uphevel would have had strong affects on all the characters especially on the Marquis who refers to all these happening in the play.
http://www.answers.com/topic/french-revolution
Moral Code 1802
Prior to the French Revolution royal decrees’ had outlawed prostitution but after the revolution all of this had to be reassessed, the Bureau des Moeurs stepped into this position legalizing it once again. It was said that the bureau was the model for toleration of prostitution. This is very ironic for part of the peoples beliefs at the time was that the aristocrats were sexually deviant but here the very reformers were allowing prostitution. It is important to understanding the Marquis de Sade’s views on governments being hypocritical which are expressed in the play and his Libertinism.
http://prostitution.procon.org/viewresource.asp?resourceID=000117
Napoleon
Napoleon gained control of the government by means of coup d’état becoming a militaristic dictator and eventually crowned himself emperor in 1804. His rise to power through the coup of 18 and established the consulate which he ruled till restoration of the Bourbons’ in 1814. He forced all printers and booksellers to swear an oath of allegiance to him and all newspapers fell under his control. This displays Napoleons’ tight control of all reading materials and information available to the French people. It also gives greater insight to Napoleons’ censorship of the Marquis in “Quills”, it is the Marquis defiance of censorship that gives his tormentors cause to thwart him.
http://www.historyguide.org/intellect/lecture15a.html
Religion in France in 1807
Although Catholism was the favored religion in France it was not the state religion. Napolean himself believed that religion was just the cement to hold society together, because it prompted unity among the classes and it kept people mild and calm instead of independent. He also allowed Jews and protestants to practice freely. Napoleons’ view of religion as a means to control the people is important because the Marquis writing undermined the church, the Marquis saw the church as corrupt and hypocritical. This would be dangerous to Napoleon since he viewed the church and religion as way to control the people. For if people began to read the Marquis and even so much as begin to question the church they (the people) would be harder to control. So we can understand why Napoleon was threatened by the marquis use of religion in his writings.
http://www.historyguide.org./intellect/lecture15a.html.
Literacy in 1807
Prior to the French Revolution the aristocrats and members of the educated elite felt that peasants or common people only needed to know what was necessary for their daily tasks. That if they were educated it might make them aware of their place and thus unhappy with their lives and then possibly dangerous to those in charge. After the French Revolution when Napoleon came to power he set up free compulsory elementary education. Understanding that the common people could read is important because it was that fact that caused Napoleon to want to control all the materials made available to the public. This censorship is what "Quills" is essentially about.
http://www.nald.ca/fulltext/athomas/aduill/page31.htm
Popular Author in 1807
Sophie Ristaud Cottin was an extremely popular French sentimental novelist of the early 1800s. Her most famous work “Elisabeth ou les Exiles de Sibene” published in 1806, was said to be very romantic story yet very moral. It is notable to the world of the play to know what was popular reading material read at the time. Cottin’s work obviously greatly contrast the Marquis in many was.
http://www.answers.com/topic/sophie-ristaud-cottin
War of the fourth Coalition 1806-1807
The fourth coalition against France was made up by Prussia, Russia, Saxony, Sweden, and the UK. August of 1806 King Fredich Wilhelm III of Prussia goes to war with Russia against France. Napoleon’s forces won with ease, the French took control of Poland and made it a new state, then Napoleon fought the remainder of the Russian army to capture the Prussian capital at Kohlgsberg. Russia was defeated and had to make peace with Napoleon at Tilsalt with the treaty of Tilsalt July 7,1807. These conflicts were going on at the same time the Marquis is waging his own war of wills, like the countries Napoleon is fighting for dominance the Marquis wants to be free to write in peace.
http://en.wikipedia.org/wiki/Napoleonic_wars
Anglo-Russian War 1807
Apart of the Napoleonic wars, started due to the Treaty of Tilstmith between Russia and France, Russia had to close off maritime trade with the United Kingdom as part of the agreement. Napoleon wanted to hurt the UK economically as he could not match them in a sea attack. Russia proceeded to declare war on UK in 1807 after the UK attacked Denmark in September of 1807. This war is important because this war was going on at the time the play is taking place.
http://en.wikipedia.org/wiki/Anglo-Russian_War_(1807-1812)
Aaron Burr Trial 1807
In 1807 Aaron Burr an American political leader was arrested on charges of treason, it was speculated that he wanted the west to break off from the US and start its own government these allegations were never proved and Burr was acquitted but his name was ruined. This is notable for Burr’s prosecution takes place the same time “Quills” is set and just like the Marquis, Burr is persecuted unjustly.
http://www.nndb.com/people/184/000022118/
Phrenology
The pseudoscience, as its referred to today, was brought to France in 1807 by its founder Dr. Franz Joseph Gall. He claimed that emotional and intellectual functions could be deduced by the placement and size of bumps on a patients skull. This practice is referred to by Doctor Royer-Collard at the end of the play, the Abbe's release is dependent on the findings of the phrenologist that the Doctor is sending the Marquis skull to. The fact that the Abbe's fate depends on a science that we know today does not have any scientific evidence to back up shows the atrocity of the socitey that thinks it knows what it is doing but clearly has faith in the wrong methods.
Micro View of "Quills"
Charenton Asylum
Charenton Asylum was known for its humanitarian treatment it was founded in 1645 by Freres de la Charite in Charenton-Saint-Maurice, France. The hospital still exits today but is known as Esquirol hospital. The events of the play are set here in 1807.
http://en.wikipedia.org/wiki/Charenton_(asylum)
Popular forms of therapy in 1807
Treatments for the mentally ill were very inhumane and torturous in 1807. Dr Benjamin Rush’s methods were popular at the time and would have heavily influenced Doctor Royer-Collard’s treatments of the Marquis and other patients at Charenton. Dr Rush bled patients and used swinging devices, and water shock or terror baths popularized in the 1600’s throughout Europe. In the play the inmates at Charenton were spared these treatments until Doctor Royer-Collard assumed control of the asylum.
http://thelimbicregion.tripod.com/id38.htm
Abbe de Coulmier
The Abbe de Coulmier also known as Fracois Simonet de Coulmier a French Catholic priest only a year younger than the Marquis who was treated at Charenton when he was director of the asylum. The medical establishment opposed Coulmier for being to liberal with the patients. He allowed the patients to use art as therapy and rejected use of straight jackets, wicker cages, and terror baths. Although The Abbe shown in the play is usually cast as a younger man the general practices of the Abbe are captured though there is no historical evidence of the Abbe maiming or killing the Marquis, although he did refuse to let the Marquis write and put him in solitary confinement after a police order was issued to do so.
http://en.wikipedia.org/wiki/Abb%C3%A9_de_Coulmier
Pierre de Marivaux
Pierre de Marivaux was a French playwright of the Enlightenment period famous for his Romantic Comedies and parodies, the term marvaudage is coined from him referring to the flirtatious bantering tone characteristic of Marivaux’s dialogues. In” Quills” reference is made to Marivaux’s plays being performed by the inmates of Charenton under the Abbes jurisdiction. It is interesting that the Abbe allows Marivaux for the Marquis seems is own dark marvaudage.
http://en.wikipedia.org/wiki/Marivaux
Marquis de Sade
The Marquis de Sade was a French aristocrat and salacious author but there are few historical difference from the play. First of all Renee Pelagie and the Marquis had already divorced and the Marquis had re-married an actress who was allowed to live with him at Charenton. Madeline Leclerc was thirteen and had an affair with the Marquis that lasted four years until he died. He was put in solitary confinement in 1809 and denied paper and pens. When he was put in Charenton for the second time it was due to Napoleons’ orders for the publication of “Justine & Juliette” which was published anonymously in 1803 he addressed a copy of the novel to Napoleon who refused to set Sade free.
http://en.wikipedia.org/wiki/Marquis_de_Sade
http://www.kirjasto.sci.fi/desade.htm
Bastille
The Bastille originally built as the Bastion de Saint-Antone during the Hundred Year War was a fortress intended to defend the east end of Paris and the Hotel Saint-Pol royal palace. After the Hundred Year War it became a state prison. The Bastille only had room for about fifty prisoners and therefore wasn’t nearly as awful a place than most of the other prisons in France. It was secrecy that gave the Bastille its dark reputation. Records show that the Bastille largely held common criminals as well as people imprisoned for religious reasons such as the Huguenots and those responsible for printing or writing forbidden pamphlets, and sometimes people of high rank but the Marquis would not have been held there when the Bastille was stormed by the revolution. Of the seven prisoners freed by the storming of the Bastille the Marquis was not among them. He had been transferred on the fourth of July for two days prior inciting a riot by yelling out his window “they are killing prisoners in here”. So the Marquis claim in the script that he was in the Bastille when it was stormed is historically inaccurate.
http://www.answers.com/topic/bastille
http://en.wikipedia.org/wiki/Marquis_de_Sade
Bordeaux
Bordeaux wines have been popular since the twelfth century, and their export have been in high demand ever since. This information was crucial to understanding the Marquis ironic humor in the play; when he offers wine to the Abbe commenting that it was “from an obsecure town in Bordeaux” since Bordeaux obviously was very well known and popular at that time.
http://en.wikipedia.org/wiki/Bordeaux_wine
Pierre Choderlos de Laclos
Pierre Choderlos de Laclos was a French writer famous for writing the novel “Les Liaisons Dangereuses” first published in 1782. The novel was thought to be scandalous as the Marquis writings at the time. The novel is also credited for showing the decadence of the French aristocracy before the French Revolution. The author is mentioned by Madeline in the play when she is asked what other things she reads besides the Marquis writings.
http://en.wikipedia.org/wiki/Pierre_Choderlos_de_Laclos
http://en.wikipedia.org/wiki/Les_Liaisons_dangereuses
Quills
Quills were the primary utensil used for writing from the 6th to the 19th century. Typically made from goose feathers, the best were made from swan. It is likely that the Marquis would have had swan feathers for quills considering his status.
http://en.wikipedia.org/wiki/quill
Printing Method in 1807
Lithography first developed in 1796, it would have been the method used to print books in 1807. This method was superior to the older methods of printing because it allowed for longer runs than the older methods of embossing or engraving. This allowed for cheaper cost. This machine is referred to in “Quills” by Doctor Royer-Coller as he explains his intent to publish the deceased Marquis manuscript at the asylum.
http://en.wikipedia.org/wiki/History_of_printing
Charenton Asylum was known for its humanitarian treatment it was founded in 1645 by Freres de la Charite in Charenton-Saint-Maurice, France. The hospital still exits today but is known as Esquirol hospital. The events of the play are set here in 1807.
http://en.wikipedia.org/wiki/Charenton_(asylum)
Popular forms of therapy in 1807
Treatments for the mentally ill were very inhumane and torturous in 1807. Dr Benjamin Rush’s methods were popular at the time and would have heavily influenced Doctor Royer-Collard’s treatments of the Marquis and other patients at Charenton. Dr Rush bled patients and used swinging devices, and water shock or terror baths popularized in the 1600’s throughout Europe. In the play the inmates at Charenton were spared these treatments until Doctor Royer-Collard assumed control of the asylum.
http://thelimbicregion.tripod.com/id38.htm
Abbe de Coulmier
The Abbe de Coulmier also known as Fracois Simonet de Coulmier a French Catholic priest only a year younger than the Marquis who was treated at Charenton when he was director of the asylum. The medical establishment opposed Coulmier for being to liberal with the patients. He allowed the patients to use art as therapy and rejected use of straight jackets, wicker cages, and terror baths. Although The Abbe shown in the play is usually cast as a younger man the general practices of the Abbe are captured though there is no historical evidence of the Abbe maiming or killing the Marquis, although he did refuse to let the Marquis write and put him in solitary confinement after a police order was issued to do so.
http://en.wikipedia.org/wiki/Abb%C3%A9_de_Coulmier
Pierre de Marivaux
Pierre de Marivaux was a French playwright of the Enlightenment period famous for his Romantic Comedies and parodies, the term marvaudage is coined from him referring to the flirtatious bantering tone characteristic of Marivaux’s dialogues. In” Quills” reference is made to Marivaux’s plays being performed by the inmates of Charenton under the Abbes jurisdiction. It is interesting that the Abbe allows Marivaux for the Marquis seems is own dark marvaudage.
http://en.wikipedia.org/wiki/Marivaux
Marquis de Sade
The Marquis de Sade was a French aristocrat and salacious author but there are few historical difference from the play. First of all Renee Pelagie and the Marquis had already divorced and the Marquis had re-married an actress who was allowed to live with him at Charenton. Madeline Leclerc was thirteen and had an affair with the Marquis that lasted four years until he died. He was put in solitary confinement in 1809 and denied paper and pens. When he was put in Charenton for the second time it was due to Napoleons’ orders for the publication of “Justine & Juliette” which was published anonymously in 1803 he addressed a copy of the novel to Napoleon who refused to set Sade free.
http://en.wikipedia.org/wiki/Marquis_de_Sade
http://www.kirjasto.sci.fi/desade.htm
Bastille
The Bastille originally built as the Bastion de Saint-Antone during the Hundred Year War was a fortress intended to defend the east end of Paris and the Hotel Saint-Pol royal palace. After the Hundred Year War it became a state prison. The Bastille only had room for about fifty prisoners and therefore wasn’t nearly as awful a place than most of the other prisons in France. It was secrecy that gave the Bastille its dark reputation. Records show that the Bastille largely held common criminals as well as people imprisoned for religious reasons such as the Huguenots and those responsible for printing or writing forbidden pamphlets, and sometimes people of high rank but the Marquis would not have been held there when the Bastille was stormed by the revolution. Of the seven prisoners freed by the storming of the Bastille the Marquis was not among them. He had been transferred on the fourth of July for two days prior inciting a riot by yelling out his window “they are killing prisoners in here”. So the Marquis claim in the script that he was in the Bastille when it was stormed is historically inaccurate.
http://www.answers.com/topic/bastille
http://en.wikipedia.org/wiki/Marquis_de_Sade
Bordeaux
Bordeaux wines have been popular since the twelfth century, and their export have been in high demand ever since. This information was crucial to understanding the Marquis ironic humor in the play; when he offers wine to the Abbe commenting that it was “from an obsecure town in Bordeaux” since Bordeaux obviously was very well known and popular at that time.
http://en.wikipedia.org/wiki/Bordeaux_wine
Pierre Choderlos de Laclos
Pierre Choderlos de Laclos was a French writer famous for writing the novel “Les Liaisons Dangereuses” first published in 1782. The novel was thought to be scandalous as the Marquis writings at the time. The novel is also credited for showing the decadence of the French aristocracy before the French Revolution. The author is mentioned by Madeline in the play when she is asked what other things she reads besides the Marquis writings.
http://en.wikipedia.org/wiki/Pierre_Choderlos_de_Laclos
http://en.wikipedia.org/wiki/Les_Liaisons_dangereuses
Quills
Quills were the primary utensil used for writing from the 6th to the 19th century. Typically made from goose feathers, the best were made from swan. It is likely that the Marquis would have had swan feathers for quills considering his status.
http://en.wikipedia.org/wiki/quill
Printing Method in 1807
Lithography first developed in 1796, it would have been the method used to print books in 1807. This method was superior to the older methods of printing because it allowed for longer runs than the older methods of embossing or engraving. This allowed for cheaper cost. This machine is referred to in “Quills” by Doctor Royer-Coller as he explains his intent to publish the deceased Marquis manuscript at the asylum.
http://en.wikipedia.org/wiki/History_of_printing
Wednesday, July 29, 2009
Sunday, July 19, 2009
EXEGESIS
“I promised her a chateau to rival Fontainbleau.”
largest French royal châteaux. The palace as it is today is the work of many French monarchs, building on an early 16th century structure of Francis I. The building is arranged around a series of courtyards. The city of Fontainebleau has grown up around the remainder of the Forest of Fontainebleau, a former royal hunting park.The Palace of Fontainebleau, located 55 kilometres from the centre of Paris...
http://en.wikipedia.org/wiki/Ch%C3%A2teau_de_Fontainebleau
“So that’s the price she extorts for fealty?”
| 1. | History/Historical.
|
| 2. | fidelity; faithfulness. |
http://dictionary.reference.com/browse/fealty
“...spat a mouthful of Cotes du Rhone upon my breast.”
Côtes du Rhône (English: Rhone Coast) is a wine-growing Appellation d'Origine Contrôlée (AOC) for the Rhône wine region of France, which may be used throughout the region, also in those areas which are covered by other AOCs. In a limited part of the region, the AOC Côtes du Rhône-Villages may be used, in some cases together with the name of the commune.
http://en.wikipedia.org/wiki/C%C3%B4tes_du_Rh%C3%B4ne
“…and replaced them with musical interludes, watercolor exercises, even Marivaux.”
Pierre Carlet de Chamblain de Marivaux, commonly referred to as Marivaux (February 4, 1688 - February 12, 1763), was a French novelist and dramatist. He is considered one of the most important French playwrights of the 18th century, writing numerous comedies for the Comédie-Française and the Comédie-Italienne of Paris. His most important works are Le Triomphe de l'amour, Le Jeu de l'amour et du hasard and Les Fausses Confidences. He also published a number of essays and two important but unfinished novels, La Vie de Marianne and Le Paysan parvenu.
“Thumbscrews and pillories, to keep the patients tranquil.”
The thumbscrew, or pilliwinks, is a torture instrument which was first used in medieval Europe. It is a simple vice, sometimes with protruding studs on the interior surfaces. The victim's thumbs or fingers were placed in the vise and slowly crushed. The thumbscrew was also applied to crush prisoners' toes, while larger, heavier devices based on the same design principle were applied to crush knees and elbows.
http://en.wikipedia.org/wiki/Thumbscrew_(torture_device)
Pillories- A wooden framework on a post, with holes for the head and hands, in which offenders were formerly locked to be exposed to public scorn as punishment.
1. To expose to ridicule and abuse.
2. To put in a pillory as punishment.
http://www.thefreedictionary.com/pillories
- “If you were to buttress your entreaties with, perhaps, the means to oblige them…” To support or reinforce with a buttress.
- To sustain, prop, or bolster: “The author buttresses her analysis with lengthy dissections of several of Moore's poems” (Warren Woessner).
http://www.answers.com/topic/buttress
Entreaties- An earnest request or petition; a plea.
http://www.thefreedictionary.com/entreaties
“You’re not the only one, mind you. We read Monsieuer de Laclos, and Louvet de Couvray.”
Pierre Ambroise François Choderlos de Laclos (18 October 1741 - 5 September 1803) was a French novelist, official and army general, best known for writing the epistolary novel Les Liaisons dangereuses. A unique case in French literature, he was for a long time considered to be as scandalous a writer as the Marquis de Sade or Nicolas-Edme Rétif. He was a military officer with no illusions about human relations, and an amateur writer; however, his initial plan was to "write a work which departed from the ordinary, which made a noise, and which would remain on earth after his death"; from this point of view he mostly attained his goals, since the fame of his masterwork Les Liaisons dangereuses is such that it can be considered one of the most well-known books in the world. It is one of the masterpieces of novelistic literature of the 18th century, which explores the amorous intrigues of the aristocracy. It has inspired a large number of critical and analytic commentaries, plays, and films.
http://en.wikipedia.org/wiki/Pierre_Choderlos_de_Laclos
Louvet de couvray, Jean-Baptiste (1760-97). French novelist, who from 1789 onwards was actively involved in politics and was a powerful orator. He joined the Girondins, was prominent in attacking Robespierre, and had to spend a year as a fugitive. His Mémoires, not published in full until 1889, are useful for the Revolutionary period. Most 18th-c. readers, however, knew him as the author of two novels: Émilie de Varmont (1791) deals with divorce and the marriage of priests; but it was his long memoir-novel, Les Amours du chevalier de Faublas (1787-90), which made and has maintained his reputation. The light-hearted liaisons of the hero's youth lead to a sombre close, with several deaths and Faublas's temporary madness.
http://www.answers.com/topic/jean-louvet
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