Corruption and Currying Favour in Medieval France

by Kristin Gleeson

Did you ever wonder where the term “currying favour” came from? I have to say it wasn't something that I ever wondered about, rather it was a term I used without thought. Recently, during an online course I took on Medieval music manuscripts, I was fascinated and astonished to discover that the term had its origins in a 14^th century satirical manuscript entitled, “Le Roman de Fauvel,” a multimedia work credited to the poet and royal chancery clerk, Gervais du Bus, with additional text by Chaillou de Pesstain and musical contributions by composers such as Phillippe de Vitry. It’s a tale of villainy, corruption and a massive abuse of power at the highest ranks. 

Hmmm. Some old tales are never old for the times. 

Through poetry, prose, music and illustrations the allegorical and cautionary tale describes the rise to power of its main character, Fauvel. What captures the imagination much more is that Fauvel is a horse. A tawny (“fauve” is tawny in English) horse that starts his life in an ordinary Parisian stable and becomes dissatisfied with his life and surroundings which he feels is too ordinary by half. As if his wish to have more manifests itself into reality, Lady Fortune comes to him and, despite her sister Raison’s (Reason) efforts to stop it--because fortune is blind—Lady Fortune puts him in the royal palace stables. In his luxurious stables he is heavily pampered while flattery, praise and adulation are heaped upon him. Fauvel believes he deserves it all. People come from far and wide to brush him, to “curry Fauvel.” No muck shall be allowed to get on Fauvel. Everyone wants his favour. Even the church showers him with attention and praise.

Fuavel’s power and influence over France’s leaders and ecclesiastical affairs increases. His numerous vices and capriciousness result in religious corruption and turmoil that cause irreparable damage to the Church and taint society. Eventually Fauvel builds his own palace and is surrounded by unscrupulous courtiers like Envy, Deceit, Vanity and Perjury. The depictions of Fauvel in the manuscript begin to take on human characteristics, with features like the king. His behaviour becomes more human like too. Eventually, he claims divine and royal authority. People come from all over to ask his advice. His rule becomes tyrannical and the only people who benefit are beautiful women and those who share Fauvel’s views. The world becomes inverted. Fools gain power, wise people are silenced. Justice is corrupt and in fact the justice court praises Fauvel. 

Fearing Lady Fortune might withdraw her favour at any time. Fauvel decides to seek a wife to consolidate his power. He chooses and proposes to Lady Fortune because he feels that marrying her would give him a huge amount of control over the world. But Fortune is fickle and she rejects Fauvel and suggests he marry Lady Vainglory instead. The wedding is attended by many guests and a joust is held with competitors that represent vices, but also the virtues, like Humility and Chastity, who hope that they might bring about Fauvel’s downfall. Ultimately, the Virtues triumph but Lady Fortune consoles Fauvel with the promise that he though he will eventually meet his demise, he will continue to spread evil through his children.

“Le Roman de Fauvel” is a dark tale with many symbolic names and metaphors that reflect the dark times France was experiencing under the tumultuous and corrupt reign of Philip IV.  The king’s administrators flagrantly abused power, admidst a growing civil service who pandered and flattered Philip IV. There was great abuse of financial power that exploited the Jewish population through heavy taxation, debasing the currency and confiscating property. The country was also in conflict with the Papacy over taxing the church. The Pope refused to allow it but King Philip ignored his pronouncement. The Pope threated to excommunicate the King if he didn’t recognize the Pope’s ultimate authority. Philip responded by sending people to arrest the Pope and imprison him. The Pope was freed but he died soon after. Another Pope was elected but he was afraid of Philip and under Philip’s direction, he moved to Avignon where the King controlled him.

The manuscript, in all its multimedia glory, gives a very vivid representation of the time period. The music is an amazing and progressive mix of monophonic and polyphonic pieces that demonstrate the avant garde skills of the internationally acclaimed Ars Nova school of music that was emerging in Paris under the master himself, Phillippe de Vitry. Filled with varying rhythms and complex multi voice parts, “Le Roman de Fauvel” shows France at the forefront of Western musical evolution and innovation with music and words that mock a corrupt society. One scene, for example, shows a noisy Charivari group wearing masks protesting Fauvel’s rule as loudly as possible, banging pots, pans, shouting and blowing horns. Another scene contains a song with political double speak of confusing and hypocritical statements, while another section parodies the clergy as singers chant words of power. 

The illustrations are lively and vividly portray the story as well as the society at large. In one illustration Fauvel sits on a throne a crown on his head, draped in a royal mantle. There are scenes showing important officials currying Fauvel with a brush that graphically tell the story of corruption that is unfolding.

The prose and poetry, written in French and Latin, is so clever and telling with the names and story so compelling. The name itself “Fauvel” was an acronym in French for Flatterie, Avarice, Villainie, (in old French “v” is also “u”) Varieté (fickleness), Envie, Lacheté (cowardice). In the tale it describes how the “vice of “fauvelling” and the muck of avarice occupy the throne and the highest position of the court. A gift makes the judge favourable and gentle. Law passes into exile, and the judgement of the law is up for sale. ‘O what infection, how great the boils that daily plague the flanks of the mighty!’ Flattering voices ascend to power. Fraudulent justice rules. ‘Merciful God apply her counsel’!” (translation from “Labouring in the Midst of Wolves” Reading a Group of ‘Fauvel Motets” by Edward H. Roesner, from Early Music History Vol. 22 (2003).

Through time, the term “currying Fauvel” became widespread across Europe, and in England, it eventually transformed into, “currying favour”. Though “Le Roman de Fauvel” may not be a modern piece of streamed content, or a wild film satire shown on Netflix and YouTube, it is a truly relevant and amazing piece of work that has many parallels today, some of them fairly chilling.

My series, The Renaissance Sojourner, set in 15th century Europe, Africa and the Silk Road shows many aspects of the political intrigue and corruption of that era. 

Kristin Gleeson is a USA Today Bestselling author of In Praise of the Bees from the Women of Ireland series as well as Celtic Knot series, The Highland Ballad series and Rise of the Celtic Gods series. Visit her website at www.krisgleeson.com

 

 

Cabinet of Curiosities by Charlotte Wightwick: Manuscripts, Magical and Remarkable

As its Halloween, it is almost obligatory that I should write about things that go bump in the night. This year, I’ve been enjoying my spooky fix via Sky’s Discovery of Witches – a TV series featuring witches, vampires and demons, based on the All Souls trilogy of books by Deborah Harkness. I first read – and greatly enjoyed - the books some years ago, and have to admit to rather mixed feelings about the TV series. The actors are generally great (although personally I’m not sure about all the casting choices!) and the cinematography and locations are beautiful. But, as is inevitable with any adaptation, they’ve had to leave things out, or at least not give them the prominence they receive in the novels.

In Harkness’ books, the Twilight-style romance is leavened with a real passion for history. The protagonist Diana has a non-magical career an academic historian, and her love for the subject – or rather, that of Harkness (herself a professional historian before she turned to novel-writing) really shines through. In particular, significant time and space within the novels is devoted to loving, meticulous descriptions of the illuminated manuscripts Diana studies (and which cause her such supernatural trouble – her discovery of a bewitched book kicks off the plot).

The only other place where I’ve read such bewitching (excuse the pun) yet accurate descriptions of medieval manuscripts is in Christopher de Hamel’s wonderful Meetings with Remarkable Manuscripts (if you’ve not yet read it, it is worth getting your hands on the hardback version for the beauty and quality of the reproductions.) Taking one manuscript per century between the C6th and C16th, de Hamel walks his readers through what it is like to see, feel, touch and smell the reality of these rare and precious objects, as well as explaining the historical and social conditions in which they were created. It is accessible, scholarly and passionate; beautiful and illuminating all at once, as perfect and jewelled as the manuscripts he describes. 

So, my item for the Cabinet of Curiosities this month? Definitely a medieval manuscript. But I’m torn. My personal favourite from de Hamel’s book is the fourteenth century Hours of Jeanne de Navarre, with its stunning and intricate gothic illuminations. But I do wonder if I might be allowed Diana’s fictional, magical Book of Life, explaining through alchemical imagery the origins and destinies of vampires, witches, demons and humans?

Well, it is Halloween, when the veil between the mundane and the magical is supposedly at its thinnest, so maybe, just maybe…

Cabinet of Curiosities - Harry Potter: A History of Magic at the British Library by Charlotte Wightwick

So I’m cheating a bit this month. The Cabinet of Curiosities is supposed to be one object which I’d love to have for myself. However I couldn’t resist talking about the current exhibition at the British Library on Harry Potter; A History of Magic, which is itself a compendium of incredible objects.

It’s a fantastic exhibition, making brilliant use of archive material, historical artefacts and modern technology to create an experience unlike any I’ve been to before. It combines original Harry Potter archive material and memorabilia with historical manuscripts and objects, setting J.K. Rowling’s fantasy world into the context of real historical beliefs about magic, with technology providing an interactive experience for those who want to try their own hands at ‘magic’.

So, for instance, the exhibition includes hand- and type-written excerpts from J.K Rowling’s original manuscripts (complete with editorial suggestions and some entirely unknown scenes which were cut from the final books), novel plans and some of her own early drawings of characters and locations – an absolute treasure trove for fans and fellow writers. There are also a large number of original drawings and paintings from the illustrated versions of the books by Jim Kay, with sound effects and objects from the films too.

The exhibition is organised into a number of different rooms, each of which is dedicated to an individual Hogwarts’ ‘lessons’ – Potions, Charms, Defence Against the Dark Arts, etc. In each case, Rowling’s archive material is cleverly interspersed with manuscripts and objects which explore ‘real life’ historical beliefs surrounding magic.

For example, the Herbology room includes Jim Kay’s illustrations of the greenhouses as Hogwarts; J.K. Rowling’s own drawing of Professor Sprout and some stunningly beautiful Herbals from the British Library’s Collection. The Care of Magical Creatures room is another highlight for anyone who loves medieval bestiaries and illuminated manuscripts.

The Astrology room contains stunning early globes, astrolables and orreries, as well as medieval manuscripts with illustrations of centaurs and other mythological creatures relating to the constellations. One of my favourite items in the exhibition was the sixteenth century ‘volvelle’ – a beautiful rotating paper model – of an astrological chart with a dragon at its centre, from Petrus Apianus’ Astronomicum Caesareum. The dragon could be spun in order to determine the latitude of the moon, or to cast horoscopes.

Similarly, the Divination room contains a whole raft of artefacts and manuscripts showing how different practices to determine the future have been used through centuries and across continents (another great feature of the exhibition is that it doesn’t restrict itself to European traditions of magic, but looks across continents and civilisations) – and makes use of modern technology to allow younger visitors the chance to look into their own futures.

So, which would be my one object to take home for my Cabinet of Curiosities, if I was allowed? Its tricky. The spinning astrological dragon would have to be up there. But then I’m also enough of a Potter fan to covet one of J.K. Rowling’s own drawings. The beautifully intricate gold filigree case containing a bezoar stone was also stunning.

But the thing I did actually take away with me, apart from a head full of wonder? The exhibition book. As well as beautiful colour photos of many of the exhibits, it also contains some fascinating essays by authors as diverse as astronaut Tim Peake, TV wildlife expert Steve Backshall, and author Anna Pavord. The exhibition’s curator, Julian Harrison, provides the overall foreword. He also tweets regularly, including about his favourite objects from the exhibition, and is well worth a follow @julianpharrison. 

My object for my Cabinet of Curiosities!

The exhibition book, published by Bloomsbury

To find out more about the exhibition (including whether there are any tickets left! It closes at the end of February) the website is:

https://www.bl.uk/events/harry-potter-a-history-of-magic

If you do get the opportunity, I really would encourage you to go. It’s a wonderful example of how stories, even those set in with a supposedly fantastical backdrop, can stimulate our imaginations about the truth of history and of the world around us.