The History Girls

 

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