New landmark for my blog and photos of a real landmark in Paris

This humble blog has now surpassed 100,000 hits. Huzzah!

To celebrate this landmark I would like share a real landmark of France. There is an old saying that "all roads lead to Rome." In France, all distances are measured from a marker in front of

-->Nôtre Dame Cathédrale.

Here is a photo with my son standing in front of the disc helping to point out its location in front of Nôtre Dame.

And here is a close up of the marker itself.

 

Thank you for visiting my blog and I hope you will return again to enjoy my musings and pictures from my travels. 

http://lcmccabe.blogspot.com/2013/07/new-landmark-for-my-blog-and-photos-of.html

Magic words in France and Italy

Traveling can be an enriching experience, not only from seeing new sights but also by learning new customs. My language skills in French and Italian are limited. I have taken French lessons at my local Alliance de

--> Française, but I realize that my grammar is still rustic and rudimentary.

I do my best to use as many French words as I know, and with the best pronunciation as I can muster, knowing that if I am patient enough I will manage. I learned early on that the French people are formal and that you must start every interaction with "bon jour." If you do not begin with that nicety, you are considered rude.

I can respect wanting a formal greeting. It is a cultural difference and this may be a source of some friction Americans have when they visit France if they do not recognize the cultural expectations of the host country. Americans are much more casual and we will chat with anyone, and even think about needing to start a conversation with a greeting of "good day."

Many times we will be at a store, say a coffee shop, where we are staring up at the menu. Then, when we are greeted and asked for our order, we are more likely to answer with the drinks we want than to start with "Good day, I would like to have..."

During my first trip to France in 2007, I did my best to use bon jour with every interaction I had with a French person. It was when we were in the Midi-Pyrenees region and at farmer's markets that I discovered a different phrase, that of

--> bonne journée. (It is pronouced bun jour-nay).

A farmer's market in Saint-Antonin-Noble-Val.

At first I thought they were wishing me to have a good journey. I wondered how obvious it was that I was on vacation. Later, much later, I realized the significance of bonne journée. 

It is the feminine version of bon jour and the polite way of ending a conversation by wishing someone a good rest of their day.

Get it? Start with the masculine bon jour and end with the feminine bonne journée. It is like book ends to a conversation.

In 2011, when I returned to France I used bonne journée instead of au revoir to say good-bye. The reaction was startling. I found that in the villages, my wishing bonne journée was treated as if I paid them a high compliment. On more than one occasion, the person's voice went up an entire octave and they trilled out "Aussi!  Bonne journée!" (You too! Have a Good Day!)

Seriously. Americans have become so jaded and cynical that wishing someone a good day or "have a good one" is fodder for stand up comedians. Yet, that simple nicety will endear yourself in France with the locals.

 

My Italian is more sparse than my French. It consists of a few all purpose words such as buongiorno, buena sera, grazie, ciao and prego.

Having learned my lesson in France, I did my best to start any conversations with Italians with buongiorno or buena sera. 

The word that surprised me as to its usage is "prego." I feel it is the Swiss Army knife of words in Italian.

It is used to say please, thank you, and you're welcome. I have had waiters come to my table with their pad in hand and simply say "prego." It might translate as please, but it has so many more uses.

Tasso Ristorante Pizzeria in Sorrento, Italy

If you are traveling in Italy, know that prego is used far more often than per favore.

During our trip this summer we visited our exchange student and his family. While he was living with us in California, I saw him use his cell phone for reading texts, emails, etc., but do not remember seeing him talk into the phone. In Italy, I saw him answer the phone a few times and was surprised at his greeting.

"Pronto!"

Not buongiorno or salve, but pronto.

It reminds me of the old greeting, "go ahead, it's your dime."

The other day when I had a phone call from an unknown user, I decided to use "pronto" as my greeting. The caller was flummoxed and hung up on me. Just as well, I think it was a telemarketer and I am on the "do not call" list.

Does anyone have any other "magic" words they learned in a foreign country they would like to add?

 

 http://lcmccabe.blogspot.com/2013/07/magic-words-in-france-and-italy.html

 

Charlemagne died January 28th 814

A reliquary of Charlemagne containing his head. This is found in the cathedral treasury in Aachen, Germany.

In honor of the 1199th anniversary of Charlemagne's death, and in anticipation of the major anniversary to be celebrated next year, I wanted to write a post in honor of that historic leader who changed Europe.

His date of birth is reported as April 2nd, but the year is in some dispute. Encyclopedia Britannica has it listed as 747? while his official biographer Einhardt suggests he died at age 72 making his birth year as 742.  There is not any dispute as to when he died. 

I have snapped pictures associated with Charlemagne ever since beaming a devotee of Carolingian legends.

I wanted to share some of them with my blog readers.

Staring in Paris, there is a statue of him in front of Notre Dame Cathedral.

Then on the Right Bank is Rue Charlemagne.

I was delighted to find that his street intersected with one named after his biographer, Rue Eginhard.

There was also a bookstore named after him a few blocks away.

Not far from the Musée Carnavalet is a street named after the famous poem Les Quatre Fils Aymon.

Then in Chantilly, a chateau north of Paris I found a painting depicting those four sons of Aymon riding on the back of Renaud de Montauban's coveted destrier Bayard.

Too bad the artist did not have Renaud sporting Mambino's golden helmet. Then we would know for certain which of the four brothers was Renaud.

In the Louvre you can find not only a reliquary containing one of Charlemagne's arms,

but a replica of his famous sword Joyeuse.

While in Amboise, I noticed Rue Joyeuse.

In Reims, the treasury for the cathedral had a statue of Charlemagne that had been taken down because it has deteriorated and needs a replacement.

Here is a closer look.

Here I am providing perspective as to its size. Plus, I wanted a picture taken of me with Charlemagne.

Here is where I believe it had been placed on the cathedral. You can see the empty pedestal.

It is not so obvious when you look at the cathedral as a whole.

Speaking of cathedrals, there is an entire stained glass window devoted to the legends of Charlemagne at the cathedral in Chartres.

If you are wondering how someone can tell that this window is about Charlemagne and not just any king, you can see if you look closely the word Carolus used in many of these insets.

During a trip to Italy in 2011, I arranged a tour of St. Peter's Basilica because I wanted to see where Charlemagne had been crowned as emperor of the Western Roman Empire on Christmas Day in the year 800.

Outside the entrance to St. Peter's stands a large statue of Charlemagne.

There is a companion statue of Constantine facing Charlemagne, but I never even looked his way. So I do not have a picture of that to share.

Inside the basilica, my tour guide showed me the very spot Charlemagne was crowned. It was upon a disk of red porphyry.

My guide stressed that red porphyry was expensive and had been mined from a single mine in Egypt, but had been long since been exhausted. This made the existing porphyry all the more valuable.

I then started taking pictures of red porphyry where ever I saw it.

Here is one in the Roman Pantheon.

And a close up of that disk.

Then in August 2011, I visited Aachen. The capital of Charlemagne's empire.

This time when I saw a disk of red porphyry inside his cathedral, I made sure to have my picture taken standing on it.

Here is his throne which was on the second floor in the cathedral. There are steps leading up to the throne and pilgrims used to crawl under it.

Here is a replica of his crown that is in the Rathause, a building where the current Aachen City Council meets and where Charlemagne's palace once stood.

He was originally buried in this sarcophagus that is now housed in the cathedral treasury.

However, when he was canonized, they removed his remains and placed several portions in small reliquaries (like the golden head at the top of this page and the arm held in the Louvre) and the bulk of his bones inside a golden reliquary inside his cathedral.

In Aachen, Charlemagne's influence can be found everywhere. Including his monogram found on the streets.

I hope to make it back to visit Aachen next year and see some of the festivities planned for such a significant anniversary of the death of an important leader in history. Perhaps I will be lucky to be asked to participate as an author whose work's purpose is to inspire a new generation to discover and enjoy the legends of Charlemagne.

Feminine Archetypes and Symbolism in Carolingian Legends

The following is the text of the paper I gave at the Association for the Study of Women and Mythology Conference held in San Francisco on May 11th and 12th.

Like many conferences, it was difficult to choose which session to attend because there were many topics that sounded interesting.  With that in mind, I wanted to share this online for those who were not able to hear my talk.

Deconstructing Carolingian legends to discover feminine archetypes and symbolism

Before I start, I want to get a sense of the room.  How many people here are familiar with Arthurian legends? Now, how about Carolingian legends?

I want to first give an overview of Carolingian legends for those unfamiliar with them.  The word Carolingian comes from the Latin Carolus Magnus, meaning Karl the Great, better known to us as Charlemagne. The legends of Charlemagne are just as luxurious of a source material as the legends of Arthur, but without any debate as to whether or not Charlemagne was an historical figure, he was, and the legends about him were stories created to entertain and not considered as history.

I will touch on the most popular aspect of these legends in art and drama so that you will be able have discussions with people who may only be familiar with the legends of Roland (in French) or Orlando (in Italian). The most famous of the legends of Charlemagne is the Chanson de Roland or the Song of Roland.  Written in the eleventh century by a Frenchman, it was loosely based on a real defeat of Charlemagne's army in 778 in the Roncevaux Pass in the Pyrenees.  The historical events are rendered into mythology.  There are other stories comprising the Matters of France, not all were written by Frenchmen, but they all deal with legends of Medieval France. Similarly, the Matters of Britain were not all written by British writers, but they concern Medieval Britain.

Some of the largest sources of Carolingian legend, and what I will be discussing today are two epic poems written by Italians. Orlando innamorato (Orlando in love) was written by Matteo Maria Boiardo and the first version was published in 1483 and another version with more cantos was published posthumously in 1495. He stopped writing his story when the French army invaded Italy in 1494.  He found it impossible to lionize the heroic nature of fictional Frankish warriors when real French warriors were attacking the various duchies on the Italian peninsula.

A decade or so later, Ludovico Ariosto was commissioned by the same patrons to continue Boiardo's unfinished tale.  Ariosto's Orlando furioso (Orlando enraged) became more famous than its predecessor and was first published in 1516, so we will soon be celebrating its five hundredth anniversary.

Those poems were pure fiction and written to entertain and flatter the poets' patrons the noble house of Este in the northern Italian city of Ferrara.  The stories depict wars that never took place between Christian and Muslim armies and were undoubtedly influenced by the Crusades, which occurred centuries after Charlemagne's death in 814.

The two poems follow the title character of Orlando, a famous paladin of Charlemagne, and his unrequited love for Angelica the princess of Cathay.  Once Orlando discovers that Angelica has married another, he goes insane.  The story has multiple interweaving plotlines and numerous disparate settings from Europe and North Africa to Asia.

Boiardo's epic featured an invasion of the Frankish Empire by the North African Muslim army and the war was finally finished in Ariosto’s tale.  There were brave knights, scoundrels, bloody sieges, enchanted realms, sorceresses, wizards, a flying hippogriff as well as the brave female warriors, Bradamante and Marfisa.

These stories inspired many artists such as Doré, Fragonard and Ingres. There was a special exhibit in 2009 at the Louvre in Paris featuring the art inspired by Orlando furioso. There are also at least a dozen operas that cover portions of Ariosto's masterpiece. Cervante's classic novel Don Quixote includes mentions of the poem and William Shakespeare even borrowed a dramatic set-up from the fourth canto of Orlando furioso for a scene in his famous comedy "Much Ado about Nothing."

 Most people who are somewhat familiar with these stories know of Orlando's love and madness, but they are not as familiar with Bradamante's story which began as a subplot, but wound up becoming front and center in the story at its conclusion.  In Italian, her name is pronounced Bradamanté, whereas the French pronunciation is Bradamante.  Because she is a Frankish character, I use the French variant, but both are correct.

I feel Bradamante should be as famous and as well examined a character as Guinevere, Morgan le Fay and the Lady of the Lake.

The first time I read Orlando furioso was nearly ten years ago and I was startled to discover such a strong female character in literature. I had a hard time believing that this feminist character was written centuries ago, by a man, and I wondered why I had never heard of her before.

I see Bradamante as being a blend of two similar archetypes:  Joan of Arc and Athena.  Bradamante is depicted as riding on a white horse, bearing a shield and plume of white, having cropped hair and disguising herself as a man.  She also has the nickname "The Maid."  Since Joan of Arc was killed in 1431, it is reasonable to think that Boiardo and Ariosto were inspired by this real life heroine as they were writing their fictional heroine.

The major difference between the Maid of Orléans and Bradamante is that the fictional character was not persecuted for her military prowess, but instead heralded and valued as a military commander.  She was the niece of Charlemagne and came from a distinguished military family. Her interest in warfare was not due to hearing divine voices, but instead military duty was in her blood.  Charlemagne had also been a powerful monarch for many years before his niece was born, so unlike King Charles VII of France, he was not threatened by this warrior maiden's influence with the people.

Similar to Athena, the Greek goddess of wisdom and victory, Bradamante is depicted at the beginning to have a heart unmoved by men.  That is until Ruggiero, a Saracen warrior, performed an uncommon act of chivalry on her behalf on the battlefield.  This led to their talking to one another and experiencing Love at First Sight.  Ruggiero was descended from Hector of Troy and strove to live up to the image of his noble ancestor as the perfect knight. 

Dore's hippogriff

Bradamante and Ruggiero represent an impossible love as they are warriors on opposite sides of a holy war.  Symbolically this impossible love is represented in the story by the hippogriff, a mythical creature that is part eagle and part horse, and first described in Virgil's Ecclogues as being born of the mating of natural enemies of griffins and mares. Griffins were fierce protectors of gold and raiders rode horses in efforts to steal gold, leading to the animals' enmity of each other. Ariosto was the first author to use the hippogriff as a character in literature.

Bradamante and Ruggiero's bliss at finding one another does not last and they are soon cruelly separated.

This love story of Bradamante and Ruggiero shows an inverse on what we have come to expect with the hero cycle as described by Joseph Campbell with his thesis the Hero With a Thousand Faces.  Instead, Bradamante's story arc is more in line with the Heroine's Journey as described by Valerie Estelle Frankel.  Bradamante, a fair damsel, is given the Call to Adventure and is told she must rescue her beloved who is being held captive by a wizard in an enchanted castle.  After rescuing Ruggiero, her next task is to persuade him to be baptized as a Christian and marry her. In so doing, their union will bring forth generations of heroes who will, in time, lead to the noble house d'Este of Ferrara.

This is far different from traditional quest stories with a young man fighting evil in order to save his world from destruction.  Instead, Bradamante is told that her ultimate goal is marriage and motherhood.  There is a tragic element however, for it is also foretold that Ruggiero will be betrayed and killed before the birth of their child.

This next part is not symbolism or archetypes, but I wanted to share with you the qualitative difference in plot structure than what we have become accustomed to. While Ruggiero is the orphaned youth raised in obscurity, it differs from most stories in that there are two prophecies with divergent fates for Ruggiero.  Should he remain a Muslim, he would bring about the defeat of Charlemagne devastating Christendom. These stakes are compounded with dueling magical forces trying to influence which fate will come to pass.

There are other feminine archetypes appearing in these poems that are worth mentioning.  The character Angelica, the object of Orlando's romantic obsession, is described as the most beautiful woman in the world and caused every man to fall violently in love with her.  She is the archetype of Helen of Sparta (and later Troy) who was the catalyst for a war with multiple suitors vying to possess her.

Dore's Alcina

There is also Alcina, a sorceress who uses her magical powers to appear youthful.  After tiring of her lovers, she transforms them into trees and shrubs - retaining them as souvenirs of her conquests.  This echoes the story of Circe from Greek mythology.

Another female character you should know about is the other warrior maiden Marfisa.  She was abducted as a small girl, sold into slavery, and has a deep-rooted hatred of men in general.  She survived a rape attempt by her king by killing him.  She then slaughtered the king's guards until she was declared Queen Marfisa.  That was the first of many kingdoms she conquered.  Marfisa represents a destructive force of womanhood in that she conquers but does not govern. I see her as the archetype of Nemesis, the goddess of retribution.

Marfisa and Bradamante appear to be opposites at first.  Marfisa is a Muslim while Bradamante is a Christian, and they are both attracted to Ruggiero. Only when it is revealed that Marfisa is not a romantic rival for Ruggiero's affections, do the two women put aside their differences and become fast friends and allies.

These legends are also filled with symbolism. The richest symbolic scene is when Bradamante is given the Call to Adventure in a cave, recognized symbolically as the womb.  Melissa, an old enchantress, tells Bradamante of the two prophecies surrounding Ruggiero and what is expected of her.  Melissa represents the Crone.  Bradamante is a warrior maid who is being asked to become a wife and mother.  The two women together comprise the three aspects of the triple headed goddess:  Maiden, Mother, Crone.  Bradamante represents the Blade being transformed into the Chalice by the Power of Love.

National ASWM Board Member Anne R. Key and Linda C. McCabe

http://lcmccabe.blogspot.com/2012/05/feminine-archetypes-and-symbolism-in.html

In honor of Joan of Arc's 600th birthday

Jeanne d'Arc in the church in Saint-Antonin-Noble-Val

Joan of Arc, or Jeanne d'Arc, was born on January 6, 1412. In honor of the recent six hundredth anniversary of her birth, I present my blog readers with pictures of Jeanne d'Arc I took while on my two research trips that I took in France.

She is revered for her courage in battle defending the nation of France against the English in the "Hundred Years War" and for her faith in God.

Jeanne d'Arc is one of the patron saints of France and is a source of nationalist pride. I saw images of Jeanne d'Arc almost everywhere in France. I have come to the belief that every French village or town will have at least one image of Jeanne d'Arc. This led me to going on my own private scavenger hunt as I entered all the various cathedrales and churches.

My mission was to find her.

Sometimes she was easy to spot while other times she hid in plain sight. Here she is above the doorway and under the rose window of the church in Saint-Antonin-Noble-Val. (The first photo at the top of this post shows the close up of her.)



Here she is in the most famous church of all of France.

Cathédrale Notre Dame in Paris

I had forgotten about the famous gold statue of Jeanne d'Arc in Paris near the Place des Pyramids, and did not get my own photo of this iconic statue. I chastised myself as I watched the last day of the Tour de France and watched the cyclists pass by her multiple times.

Thankfully there is a photo posted on Wikipedia with full privileges to be in the public domain, so here is a picture of that famous golden girl.

Credit to Marie-Lan Nguyen / Wikimedia Commons (Public Domain)

Another representation of Jeanne d'Arc I found in Paris was in Saint-Germain-l'Auxerrois near the Louvre.

Saint-Germaine-l'Auxerrois

As I was going through my photos I discovered some duplications of statues. This same style appears in church in a small hilltop village in the Midi-Pyrenees.

-->

Église Saint Corneille in Puycelsi

And again, this time with a golden flag in Cahors. The names behind her are the men from Cahors who gave their lives in the great wars of the twentieth century.

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Cathédrale Saint-Étienne de Cahors

Now with a slight twist, she is holding a stone flag.

Basilique des Saints Nazaire et Celse in Carcassonne

Here is a painted version that I rather like.

-->

Église Saint Martin de Caniac-du-Causse

I also found a stained glass representation. Here she is in Amboise at the small church where Leonardo di Vinci is buried.

small church near Chateau Amboise

Then we have a wooden statue of Jeanne d'Arc which is now in the cathedral treasury in Reims. It is probably my least favorite of all the representations of Joan. She looks oh so stiff and lifeless.

Cathedral treasury in Reims

Inside the cathedral itself are mentions of her historic visit to Reims when she escorted Charles VII for his coronation.

And then across from the cathedral is a statue with Jeanne d'Arc appearing to be in the midst of battle.

Cathédrale Notre Dame de Reims

Jeanne d'Arc inspired not only the French, but she also inspired the Italian poets Matteo Maria Boiardo and Ludovico Ariosto. They patterned their heroine Bradamante after her. Both women were given the nickname "The Maid," rode on a white horse and wound up cropping their hair.

Thankfully, Bradamante did not suffer Jeanne d'Arc's fate of being persecuted, arrested, and executed as a heretic. Another major difference was that Bradamante was respected by her king and was not looked at as a threat. It also helps that Charlemagne was coronated long before his warrior niece was born.

Part of my fascination with Jeanne d'Arc is her iconic representation of a woman warrior while still projecting her humanity as well as femininity.

I wish that I had found images of Bradamante as a French heroine throughout France, but instead had to settle for Jeanne d'Arc. In another post, I shall share with you the images of Athena I found throughout France showing more examples of the archetype of the warrior woman.

I want to thank Jeff Sypeck for cluing me into this important anniversary while showing that a statue of Jeanne d'Arc in Washington, D.C., (a duplicate of the one outside Reims Cathedral), has been restored to her full glory with a new sword and a good scrub.

If you have any thoughts about Joan of Arc I would love to hear them. Even if you happen to believe, like those excellent dudes Bill and Ted, that she used to be Noah's wife.

Edited to add: I now have a board on Pinterest dedicated to Jeanne d'Arc (or Jehanne). It is ever expanding with images of this amazing saint.

http://lcmccabe.blogspot.com/2012/01/in-honor-of-joan-of-arcs-600th-birthday.html