The Juggler of Notre Dame and the Medievalizing of Modernity. , livre ebook

THE JUGGLER OF NOTRE DAME
volume 4


The Juggler of Notre Dame and the Medievalizing of Modernity
Vol. 4: Picture That: Making a Show of the Jongleur
Jan M. Ziolkowski






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© 2018 Jan M. Ziolkowski


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ISBN Paperback: 978-1-78374-529-6
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DOI: 10.11647/OBP.0147
Cover image: Original artwork, anonymous, tipped in as half title page to Maurice Léna and Jules Massenet, Le Jongleur de Notre-Dame (The Juggler of Notre-Dame): Miracle Play in Three Acts , trans. Charles Alfred Byrne (New York: Charles E. Burden, 1907), bound in Philadelphia, 1919
Cover design: Anna Gatti
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Contents
Note to the Reader
3
1.
The Composer
5
The Jongleur in the Circle of Richard Wagner
5
Tannhäuser
14
The Medievalesque Oeuvre of Jules Massenet
20
The Tall Tale of the Libretto
30
The Middle Ages of the Opera
36
Sage Wisdom
49
Juggling Secular and Ecclesiastical
51
The Jongleur of Monte Carlo
63
Jean, Bénédictine, and Selling Gothic
69
The Musician of Women
76
The All-Male Cast
79
2.
The Diva
85
Mary Garden Takes America
85
Oscar Hammerstein I
91
Making a Travesti of Massenet’s Tenor
94
Selling the Jongleur
111
Mary Garden Dances the Role
118
The Role of Dance
124
Sexless, Sexy… and What Sex?
130
The Jongleur Goes to Notre Dame
145
The College Woman as Jongleur: Skirting the Issue
147
From Opera to Vaudeville
152
3.
Images of the Virgin
159
The Power of Madonnas in the Round
159
Madonnas in Majesty
164
Animated Images
174
Miracles of Madonnas
178
4.
The Crypt
193
Grottoes and Crypts
193
Madonnas in Crypts
204
Cistercian Crypts
210
Gothic Crypts
222
5.
Enlightening the Virgin
229
The Incandescent Virgin
229
Dressing Madonnas: What Are You Wearing?
236
Carrying a Torch for Mary
241
Lighting Effects: Lights, Camera, Action!
246
Voyeurism and Performance Art
253
6.
Cloistering the USA: Everybody Must Get Stones
259
Stony Silence
259
Collecting Clusters of Cloisters
263
A Gothic Room of Her Own: Vanderbilt and Gardner
274
Raymond Pitcairn and the “New Church”
282
The Hearst Castle
285
The Last Hurrah
288
7.
The Great War and Its Aftermath
299
Ruining Europe
303
Reims: Martyr City and Cathedral
307
Rebuilding Europe in America
316
German Expressionism
319
French Piety
321
Painting the Juggler
323
American Gothic
330
Notes
337
Notes to Chapter 1
337
Notes to Chapter 2
361
Notes to Chapter 3
383
Notes to Chapter 4
397
Notes to Chapter 5
408
Notes to Chapter 6
418
Notes to Chapter 7
431
Bibliography
445
Abbreviations
445
Referenced Works
445
List of Illustrations
477
Index
499


To Ilhi Synn
Without a doubt it was Dr. Urbino’s most contagious initiative , for opera fever infected the most surprising elements in the city and gave rise to a whole generation of Isoldes and Otellos and Aïdas and Siegfrieds. But it never reached the extremes Dr. Urbino had hoped for, which was to see Italianizers and Wagnerians confronting each other with sticks and canes during the intermissions.
― Gabriel García Márquez


Original artwork, anonymous, tipped in as half title page to Maurice Léna and Jules Massenet, Le Jongleur de Notre-Dame (The Juggler of Notre-Dame): Miracle Play in Three Acts , trans. Charles Alfred Byrne (New York: Charles E. Burden, 1907), bound in Philadelphia, 1919.


Note to the Reader
This volume is the fourth of a half dozen. Together, the six form The Juggler of Notre Dame and the Medievalizing of Modernity . The book as a whole probes one medieval story, its reception in culture from the Franco-Prussian War until today, and the placement of that reception within medieval revivalism as a larger cultural phenomenon. The study has been designed to proceed largely in chronological order, but the progression across the centuries and decades is relieved by thematic chapters that deal with topics not restricted to any single time period.
This fourth installment, under the heading “Picture That: Making a Show of the Jongleur,” follows the tracks of the medieval entertainer as he wends his way out of nineteenth-century scholarship and literature, into opera in the early decades of the twentieth century. It includes attention to issues, as important in the Middle Ages as in modernity, relating to images of the Virgin, the significance of the crypt, and the illumination of Madonnas. The fifth in the series that comprises the book, labeled “Tumbling through the Twentieth Century,” documents the explosion of interest in the story after the opera. One manifestation of popularity steps to the fore in books, typescripts, and manuscripts. Another can be traced in performances, recordings, and films. A third category of evidence appears in the appropriation of the story by members of different faiths, especially but not solely as it was made into stock Christmas fare for theater, radio, television, and film. From there it passed into children’s literature, where it has enjoyed a healthy existence throughout the world. The final volume follows the story of the story down to the present day.
The chapters are followed by endnotes. Rather than being numbered, these notes are keyed to the words and phrases in the text that are presented in a different color. After the endnotes come the bibliography and illustration credits. In each volume-by-volume index, the names of most people have lifespans, regnal dates, or at least death dates.
One comment on the title of the story is in order. In proper French, Notre-Dame has a hyphen when the phrase refers to a building, institution, or place. Notre Dame, without the mark, refers to the woman, the mother of Jesus. In my own prose, the title is given in the form Le jongleur de Notre Dame, but the last two words will be found hyphenated in quotations and bibliographic citations if the original is so punctuated.
All translations are my own, unless otherwise specified.


1. The Composer


© 2018 Jan M. Ziolkowski, CC BY 4.0 https://doi.org/10.11647/OBP.0147.01
Opera, next to Gothic architecture , is one of the strangest inventions of western man. It could not have been foreseen by any logical process.
The Jongleur