This chapter seems to be more of a panorama than a narrative, so maybe it makes more sense to talk about it thematically than chronologically?
But we can start with those plays. “The Mother of a Family Rescued from the Flames.” Exciting, just in time for (US) Mother’s Day. “The Club of Sans Souci.” Translates as “carefree”? Fits in with the celebratory atmosphere. “The Philosopher-Soldiers.” Maybe there are some soldiers (on either side) interested in the philosophies they’re fighting for. And let’s not forget “The Art of Loving in the Village,” starring René-Jean and his sweetheart… ;)
*Patience versus haste. We move pretty quickly from “this was the word in everybody’s mouth: “Patience, we are in the midst of revolution.”” to “Nobody seemed to have time enough. Everybody was in haste.” People have to stand in line for their food, amid the hyperinflation, but they really don’t have a choice.
*Changing role of the church amid the revolution. We’ve seen one perspective with Halmalo and the counterrevolutionaries, and another with Michelle from the convent. Here in Paris, we start with “women on church steps…singing the Marseillaise” before moving onto the ex-nuns with stalls and dancing “in ruined cloisters.”
*Contrast between “the tragic city” and “the cynical city.” On the one hand, we have people who “smile heroically,” and women who are “brave and sweet in their misery” standing in line, enduring the high prices. “Cruel destitution, stoical integrity,” a “gloomy joy.” On the other, we have the “hoot”ing crowds, ironic slang, “scoff”ing, and miscellaneous revelry. A contrast between “Thermopylæ and Gomorrha.” (Last chapter also alluded to the story of Gommorha, with the “turning back” as regards Lot’s wife.) And earlier this chapter, we have, instead of a shoutout to the Spartans, instead a mention of “Athens during the Peloponnesian War”—I think stereotypically the Athenians are the more cultured side, enjoying life, but defeated by the uncompromising discipline of the Spartans?
So while Paris is caught up between these two extremes, a “strange, haughty weariness of life” develops. Is this more a function of the tragic spirit, being willing to sacrifice one’s life for the advancement of other goals? Or maybe it has more to do with the cynical ennui?
Somewhere in the mix of all this, we’re going to meet Cimourdain.
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timeasmymeasure
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Date: 2014-05-11 09:15 pm (UTC)But we can start with those plays. “The Mother of a Family Rescued from the Flames.” Exciting, just in time for (US) Mother’s Day. “The Club of Sans Souci.” Translates as “carefree”? Fits in with the celebratory atmosphere. “The Philosopher-Soldiers.” Maybe there are some soldiers (on either side) interested in the philosophies they’re fighting for. And let’s not forget “The Art of Loving in the Village,” starring René-Jean and his sweetheart… ;)
*Patience versus haste. We move pretty quickly from “this was the word in everybody’s mouth: “Patience, we are in the midst of revolution.”” to “Nobody seemed to have time enough. Everybody was in haste.” People have to stand in line for their food, amid the hyperinflation, but they really don’t have a choice.
*Changing role of the church amid the revolution. We’ve seen one perspective with Halmalo and the counterrevolutionaries, and another with Michelle from the convent. Here in Paris, we start with “women on church steps…singing the Marseillaise” before moving onto the ex-nuns with stalls and dancing “in ruined cloisters.”
*Contrast between “the tragic city” and “the cynical city.” On the one hand, we have people who “smile heroically,” and women who are “brave and sweet in their misery” standing in line, enduring the high prices. “Cruel destitution, stoical integrity,” a “gloomy joy.” On the other, we have the “hoot”ing crowds, ironic slang, “scoff”ing, and miscellaneous revelry. A contrast between “Thermopylæ and Gomorrha.” (Last chapter also alluded to the story of Gommorha, with the “turning back” as regards Lot’s wife.) And earlier this chapter, we have, instead of a shoutout to the Spartans, instead a mention of “Athens during the Peloponnesian War”—I think stereotypically the Athenians are the more cultured side, enjoying life, but defeated by the uncompromising discipline of the Spartans?
So while Paris is caught up between these two extremes, a “strange, haughty weariness of life” develops. Is this more a function of the tragic spirit, being willing to sacrifice one’s life for the advancement of other goals? Or maybe it has more to do with the cynical ennui?
Somewhere in the mix of all this, we’re going to meet Cimourdain.