Post by tomwilliams on Apr 13, 2012 6:20:20 GMT -5
4*
In 1653, two sisters, Marie and Hortense Mancini, took ship from Italy to France. They were starting out on a life that would see them become two of the most notorious women in Europe. Both were to become the mistresses of kings: Marie to Louis XIV and Hortense to Charles II of England. Both would be married off to suitable men and both would lead their husbands. In an age when wives were effectively the property of their spouses, their behaviour was not only scandalous, but dangerous. Their husbands both seemed to become obsessed with their wives, pursuing them through the courts, attempting to drag them, sometimes literally, back to their homes. Kings and Cardinals were drawn into these domestic disputes, which, given the status of all those involved, had significant political and diplomatic ramifications. Despite the difficulties that they faced (Marie was at one stage imprisoned and both were at various times confined to convents), both girls resolved to live their lives to the full. Both published autobiographies, itself a scandal, and both were the subject of gossip and speculation in the newspapers of the day. Educated and beautiful, their lives were filled with male admirers and they were painted by the great artists of the time. Miniature portraits of them even became collectors' items amongst the nobility.
Elizabeth Goldsmith has done us a good service in drawing our attention to these women. She argues that their influence on the arts (they were great patrons of the theatre), on social mores and even on the legal position of women, makes them important, as well as fascinating, figures. Not being an expert on the late 17th century, I am not qualified to say if she is right, but she makes a convincing case. The 17th century marks the beginning of modern history and these two women were, if not the first modern women (as Goldsmith claims), certainly important early examples of their type.
The book is thoroughly researched, with frequent references to their correspondence. Both women were (as was normal at the time) prolific writers and Goldsmith has read and translated many of their letters, and mined them for material in this book.
The scholarship seems of a good quality, but, like many scholars, Goldsmith does not do a good job in making her material immediately accessible to a lay audience. Background information on the period is not well integrated with the story. Fascinating and exciting incidents that lack documentation are passed over in a couple of paragraphs. For example, at least two significant figures in the tale die suddenly and both are described as probably poisoned. But no other details are given. There are fascinating stories of family feuds, intrigues and dastardly plots, but they are just skipped over in the blink of an eye. And there are other interesting things that are just mentioned and passed over without being pursued. For example, around 1674, Hortense acquires a new servant, Mustapha. He was, we're told, captured by pirates, and he stays at her side, obviously an important figure in her life, until her death. But that's pretty well all we are told about Mustapha. How did this Arab end up in France as a servant – or was he more of a slave? Were they lovers? If not, what was the relationship? They were painted together and, toward the end of her life, friends urged Hortense to let Mustapha cheer her up. There's another story here I'd like to know more about.
I write historical novels and there are always arguments about whether historical novels are essentially dishonest because we wicked authors write things that might not be true. (Say it soft, but I write the occasional thing that very definitely isn't true.) This book, though, shows the limitations of historical non-fiction. Goldsmith (quite properly) avoids speculation. No one seems to have written about these mysterious poisonings or exactly why Hortense was so close to Mustapha, so these areas of her life are passed over.
I loved finding out about these fascinating women, but I grew frustrated by the careful detailing of the chronology of their lives. There is an amazing story (actually, several amazing stories) to be told here but Goldsmith doesn't let herself tell a story. She gives us details of journeys taken, inventories of jewels, the names of famous artists, courtiers and writers they associate with, paintings they feature in but she doesn't make it come alive. The result is a solid scholarly study but a book that won't get these two women the attention they deserve.
We can never truly understand or know the past as it was. All history is about story telling. One day a historical novelist with a lively imagination and a relaxed approach to the exact truth will write a novel that will do the Kings' mistresses justice. But they'll almost certainly be reading Goldsmith's book when they do their research.
In 1653, two sisters, Marie and Hortense Mancini, took ship from Italy to France. They were starting out on a life that would see them become two of the most notorious women in Europe. Both were to become the mistresses of kings: Marie to Louis XIV and Hortense to Charles II of England. Both would be married off to suitable men and both would lead their husbands. In an age when wives were effectively the property of their spouses, their behaviour was not only scandalous, but dangerous. Their husbands both seemed to become obsessed with their wives, pursuing them through the courts, attempting to drag them, sometimes literally, back to their homes. Kings and Cardinals were drawn into these domestic disputes, which, given the status of all those involved, had significant political and diplomatic ramifications. Despite the difficulties that they faced (Marie was at one stage imprisoned and both were at various times confined to convents), both girls resolved to live their lives to the full. Both published autobiographies, itself a scandal, and both were the subject of gossip and speculation in the newspapers of the day. Educated and beautiful, their lives were filled with male admirers and they were painted by the great artists of the time. Miniature portraits of them even became collectors' items amongst the nobility.
Elizabeth Goldsmith has done us a good service in drawing our attention to these women. She argues that their influence on the arts (they were great patrons of the theatre), on social mores and even on the legal position of women, makes them important, as well as fascinating, figures. Not being an expert on the late 17th century, I am not qualified to say if she is right, but she makes a convincing case. The 17th century marks the beginning of modern history and these two women were, if not the first modern women (as Goldsmith claims), certainly important early examples of their type.
The book is thoroughly researched, with frequent references to their correspondence. Both women were (as was normal at the time) prolific writers and Goldsmith has read and translated many of their letters, and mined them for material in this book.
The scholarship seems of a good quality, but, like many scholars, Goldsmith does not do a good job in making her material immediately accessible to a lay audience. Background information on the period is not well integrated with the story. Fascinating and exciting incidents that lack documentation are passed over in a couple of paragraphs. For example, at least two significant figures in the tale die suddenly and both are described as probably poisoned. But no other details are given. There are fascinating stories of family feuds, intrigues and dastardly plots, but they are just skipped over in the blink of an eye. And there are other interesting things that are just mentioned and passed over without being pursued. For example, around 1674, Hortense acquires a new servant, Mustapha. He was, we're told, captured by pirates, and he stays at her side, obviously an important figure in her life, until her death. But that's pretty well all we are told about Mustapha. How did this Arab end up in France as a servant – or was he more of a slave? Were they lovers? If not, what was the relationship? They were painted together and, toward the end of her life, friends urged Hortense to let Mustapha cheer her up. There's another story here I'd like to know more about.
I write historical novels and there are always arguments about whether historical novels are essentially dishonest because we wicked authors write things that might not be true. (Say it soft, but I write the occasional thing that very definitely isn't true.) This book, though, shows the limitations of historical non-fiction. Goldsmith (quite properly) avoids speculation. No one seems to have written about these mysterious poisonings or exactly why Hortense was so close to Mustapha, so these areas of her life are passed over.
I loved finding out about these fascinating women, but I grew frustrated by the careful detailing of the chronology of their lives. There is an amazing story (actually, several amazing stories) to be told here but Goldsmith doesn't let herself tell a story. She gives us details of journeys taken, inventories of jewels, the names of famous artists, courtiers and writers they associate with, paintings they feature in but she doesn't make it come alive. The result is a solid scholarly study but a book that won't get these two women the attention they deserve.
We can never truly understand or know the past as it was. All history is about story telling. One day a historical novelist with a lively imagination and a relaxed approach to the exact truth will write a novel that will do the Kings' mistresses justice. But they'll almost certainly be reading Goldsmith's book when they do their research.