The Cardinal and the Queen: Sexual and Political Disorders in the Mazarinades

Merrick, Jeffrey

doi:10.2307/286688

Cited by 10 publications

(3 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The language of the Mazarinades was raw and used explicit sexual references. They set the tone for what songs could achieve in terms of giving space in the public arena to voices, topics and forms of expression which were not heard so easily elsewhere (Merrick 1994).…”

Section: French Songs and Socio-political Discoursementioning

confidence: 99%

Centrality of Text, and Discourse Strategies in French Political Songs

Crozet¹

2010

Australian Journal of Linguistics

View full text Add to dashboard Cite

and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden.The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.

show abstract

Section: French Songs and Socio-political Discoursementioning

confidence: 99%

Centrality of Text, and Discourse Strategies in French Political Songs

Crozet¹

2010

Australian Journal of Linguistics

View full text Add to dashboard Cite

show abstract

“…62 As Jeffrey Merrick has demonstrated, the charges against Anne and Mazarin only got more graphic and corrosive from there. 63 Anne became the sexually voracious dupe of the carnally corrupt Mazarin. Her evil was her failure to heed the warnings against Mazarin, and her inability -or worse, unwillingness -to curb her own sexual excesses.…”

mentioning

confidence: 99%

Constructing Evil Foreign Queens

Crawford¹

2007

Journal of Medieval and Early Modern Studies

View full text Add to dashboard Cite

The Discours merveilleux de la vie, actions et deportments de Catherine de Médicis, Royne-mère opens its summation of the "monstrous vices" of Catherine de Médicis by invoking queens past: "Fredegonde, Brunhild, Plectrude, Judith all their lives inflamed and supported civil wars in this realm, and aimed to keep father and son, brother and brother in the midst of discord." 1 Catherine has done all these things and more, the author tells us, but in case we are not completely convinced, the pamphlet closes with a more detailed comparison of Catherine and Brunhild. Both are foreigners (Brunhild is Spanish; Catherine is Florentine), but the author describes Catherine's superior capacity for evil as the sixteenth-century equivalent of a genetic trait: "Both of the two were foreigners who felt neither affection nor friendship for the kingdom. Now the Italian trumps the Spaniard, and the Florentine all other Italians." 2 Among the crimes these foreign queens share are ingratitude toward their benefactors, a tendency to murder enemies or rivals, a preference for favorites who exploit the French, and an appetite for vengeance (Discours merveilleux, 265, 267, 269, 271). One recurrent charge is a primordial hatred of the valiant French noblesse. Both derailed the French political system (Brunhild by introducing bastards into the royal family, Catherine by appropriating the regency in contravention of custom when Charles IX died) and started civil wars because of their hatred of all things French (273, 275, 277, 279). Despite Brunhild's faults, Catherine is worse, the author insists, and the proof is that she invited her enemies -good French nobles all -to her daughter's wedding in order to arrange for Protestants and Catholics to kill each other. 3 Interspersing the narratives of their misdeeds, the author deliberately conflates Brunhild and Catherine to the point of referring to Catherine as "This Brunhild Florentine" (273). Facile logic by analogy -for instance, Brunhild is an Arian; Arians are heretics; Catherine is a heretic because she is like Brunhild (275) -dots the text.

show abstract

“… 97 See, for example, Zaslaw. On printed scabrous texts attacking the cardinal, mazarinades , see Merrick. …”

mentioning

confidence: 99%

The Patronage Politics of Equestrian Ballet: Allegory, Allusion, and Satire in the Courts of Seventeenth-Century Italy and France

Goethals

2017

Renaiss. Q.

View full text Add to dashboard Cite

Equestrian ballet was a spectacular genre of musical theater popular in the Baroque court. A phenomenon with military roots, the ballet communicated both the might and grace of its organizers, who often played starring roles. This essay explores the ballet’s centrality by tracing the itinerant opera singer and writer Margherita Costa’s use of the genre as a means of securing elite patronage: from an elegant manuscript libretto presented to Grand Duke Ferdinando II de’ Medici and later revised in print for Cardinal Jules Mazarin in Paris, to occasional poetry written for the Barberini in Rome, and even burlesque caricatures.

show abstract

The Cardinal and the Queen: Sexual and Political Disorders in the Mazarinades

Cited by 10 publications

References 0 publications

Centrality of Text, and Discourse Strategies in French Political Songs

Centrality of Text, and Discourse Strategies in French Political Songs

Constructing Evil Foreign Queens

The Patronage Politics of Equestrian Ballet: Allegory, Allusion, and Satire in the Courts of Seventeenth-Century Italy and France

Contact Info

Product

Resources

About