By Sheryl Kroen

Molire's anticlerical comedy Tartuffe is the original prism wherein Sheryl Kroen perspectives postrevolutionary France within the years of the recovery. Following the lead of the French women and men who became to this play within the 1820s to make feel in their international, Kroen exposes the quandary of legitimacy defining the regime in those years and demonstrates how the folk of the time made steps towards a democratic solution to this main issue. relocating from the city squares, the place country and ecclesiastical officers orchestrated their public spectacles in prefer of the monarchy, to the theaters, the place the French used Tartuffe to mock the restored monarch and the church, this cultural heritage of the recovery deals a wealthy and colourful portrait of a interval within which severe legacies of the progressive interval have been performed out and cemented. whereas such a lot historians have characterised the recovery as a interval of response and reversal, Kroen deals convincing proof that the recovery was once a severe bridge among the rising practices of the previous Regime, the Revolution, and the post-1830 politics of protest. She re-creates the ambience of recovery France and even as brings significant nineteenth-century subject matters into concentration: reminiscence and commemoration, private and non-private spheres, politics and faith, anticlericalism, and the formation of democratic ideologies and practices.

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Extra resources for Politics and Theater: The Crisis of Legitimacy in Restoration France, 1815-1830 (Studies on the History of Society and Culture)

Sample text

As Michel Fogel has shown, 28 Politics as Theater the Te Deum was introduced in 1587 by Henry III: it took the hymn of praise to God, which had been a part of rituals in which the king had directly participated—his coronation, or his entry into a city—and turned it into the nucleus of an autonomous ceremony, no longer requiring his presence. Combining the song of celebration of God with the reading of a psalm and prayers said for the king, the Te Deum was celebrated simultaneously throughout the kingdom to mark the historical triumphs of the monarchy.

This interpretation reimagines the Restoration as a kind of ideological crucible which left a tangible legacy of practices as well as ideals which would constitute the political culture of France in the nineteenth century. In addition to reinserting the Restoration as a critical link between the Revolution of 1789 and the rest of the nineteenth century, this book demonstrates how useful it can be to use the Restoration to turn back and think critically about the Old Regime. Again, it was Tartuffe that pushed me in this direction.

6 In practical terms, this translated into an effort during the First Restoration to revive the symbols, the calendar, and many of the rituals of the Old Regime, but without a direct confrontation with their revolutionary or imperial counterparts. But Napoleon’s return in the Hundred Days proved that this conciliatory policy was far too dangerous. It became impossible simply to “pardon” the past loyalties of given individuals or to “ignore” the power of tricolor flags, revolutionary songs, or busts of Napoleon to rally together opposition to the government.

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