For terms and use, please refer to our Terms and Conditions 20 See Andreas Vesalius, On the Fabric of the Human Body, translated by W.F. Balzac, in his unfinished work Les Martyrs ignorés, refers to «[le] grand Vésale»5. 39, No. distinguished centres of learning and enjoy the highest academic standards through A more recent study by Je´roˆme The´lot sees Beauty as a courtesan and, mysteriously, the victim of concealed violence (1993, 377–88). Leakey, Baudelaire: “Les Fleurs du mal”, Landmarks in World Literature, Cambridge, Cambridge University Press, 1992, p. 46. Vous pouvez le télécharger et l’imprimer au format PDF grâce à YouScribe. Michael Tilby, «Poetry, image, and post-Napoleonic politics: Baudelaire’s “Le Squelette laboureur”», Studi Francesi, 168 (LVI | III) | 2012, 422-436. by such images in the Christian tradition. Le Spleen de Paris, also known as Paris Spleen or Petits Poèmes en prose, is a collection of 50 short prose poems by Charles Baudelaire. Michael Tilby, «Poetry, image, and post-Napoleonic politics: Baudelaire’s “Le Squelette laboureur”», Studi Francesi [Online], 168 (LVI | III) | 2012, online dal 30 novembre 2015, consultato il 09 avril 2021. Baudelaire – Remords posthume Forme Sonnet, 2 quatrains, 2 tercet Alexandrins 2 rimes embrassées, 2 rimes suivies, 1 rime plate Diérèse : pluvieux (4) Fond. II. 48-49). Il pense qu’ils sont là pour montrer que le repos éternel n’existe pas. 20That Baudelaire intended the title of his poem as, in part, a pun on the soldat-laboureur may plausibly be inferred from the cluster of agricultural imagery (moisson, fermier, grange) in the fifth stanza, which, in its specificity of detail and tone, goes beyond any of the traditional Holbein-inspired engravings and fuses any medieval colouring it possesses with the more recent rhetoric of the Napoleonic veteran turned farm worker: 21The brutal directness of the question is immediately at odds with the comforting cultural cliché of the soldat-laboureur, reminding us that the poem was composed during the reign of ‘Napoléon le Petit’. Space, clearly identified at the outset, is endowed with an elasticity that expands and contracts to embrace the cosmic as well as the snapshot of the farmer’s barn. 74 For a rather different view of allegory in relation to “Le Squelette laboureur”, see Labarthe, Baudelaire et la tradition de l’allégorie, pp. Read your article online and download the PDF from your email or your account. Heaney imagines it as follows: II Sad gang of apparitions, Your skinned muscles like plaited sedge In other words, the spade is literally a prop. What is thus striking, as so often in Baudelaire’s poetry, is the way the images are not confined to the function of illustrating the explicit current of thought to which the poem may at one level justifiably be reduced. Although Édouard Maynial’s belief that Baudelaire was referring to a reproduction of Brueghel’s Le Triomphe de la mort gained currency among scholars for a time1, Baudelaire’s modern editors, following a suggestion first made by Jean Prévost2, now routinely see these lines, and moreover those that follow, as an extended reference to the engravings in Vesalius’s masterwork, De Humani Corporis Fabrica Libri Septem, first published in 1543 and often reprinted in the centuries that followed, the original drawings having seemingly been provided by Titian’s studio. Instead their multiple associations and the alluring hints of significance they contain possess an independence of any paraphrasable message, the role of which is as much structural as constitutive of the poem’s raison d’être. De ce terrain que vous fouillez,Manants résignés et funèbres,De tout l’effort de vos vertèbres,Ou de vos muscles dépouillés, (Baudelaire, “Le Squelette laboureur”, 1859). Hunkeler’s illuminating discussion of Borel’s story in its nineteenth-century medical context also establishes that although the author’s depiction of Vesalius as a human vivisectionist was probably based on a dubious allegation in a letter of 1565 written by the French diplomat Hubert Languet, his account of the anatomist’s lamentable death had its source in the biographical notice published in the 1725 edition of Vesalius’s Opera omnia. 8There were indeed numerous visual depictions of the figure, most notably those by Horace Vernet and Charlet. The sixteen-year-old Flaubert had penned his own Danse des morts. Le Squelette Laboureur. The Paris danse des morts, which was widely held to be the source of the woodcuts in Guyot Marchant’s seminal La Grant Danse macabre des hommes et des femmes, nonetheless possessed a link with Vesalius, in that it was in the Cimetière des Innocents that the anatomist claimed to have had first familiarized himself with human bones20. 3There are many examples in late-medieval and early modern European culture that show skeletons putting a spade to good use. A tout événement, il doit réussir, car il s’est placé sous les auspices d’hommes qui ont compté plus d’une brillante conquête» (L’Œuvre de Balzac, XIV, p. 250). 10 See Vesalius, De Humani Corporis Fabrica, 7 vols, Basel, 1543, I, p. 163. Athanassoglou-Kallmyer draws attention to the fact that in this same painting, as well as in a lithograph by Senefelder dating from 1823, the soldier-farmer has a «heavy moustache, a distinctive attribute of Napoleonic officers»53. Leakey, Baudelaire: Collected Essays, 1953-1988, Cambridge, Cambridge University Press, 1990, pp. Baudelaire's Birthday. Moreover, the listing of a Polish and Fourierist painter he had originally intended to include in his novel under the name Grobowksi includes the information that: «il ne voit pas de plus beau sujet que le Soldat laboureur ni de plus grand peintre que Charlet»65. 6The tradition of the danse macabre was not, however, the only field of reference to combine with the perspective of anatomical engravings in “Le Squelette laboureur”, as may be seen from further consideration of the activity in which Baudelaire’s skeletons are shown to engage in quatrains 4 and 5. John E. Jackson, in a rare attempt by a critic to engage with the specificity of “Le Squelette laboureur”, has argued that these images of work possess «un sens profond»25: he sees Baudelaire employing the metaphor of serfdom to evoke an exploitation of the proletariat that he identifies elsewhere in Les Fleurs du mal, most notably in “Le Crépuscule du matin”. Kelley points out that Baudelaire would tone down his denunciation of Vernet’s art by the time of the Salon de 1859 and Le Peintre de la vie moderne (see ibid., pp. 24It is this that allows the poem to present the impression of the oxymoronic combination of a meaning that is both absent and present, and a sense of elusiveness alongside one of precise and highly specific detail. Literature and the Visual Arts in Nineteenth-Century France, New Haven and London, Yale University Press, 1994, pp. See also Leakey, Baudelaire: “Les Fleurs du Mal”, p. 46. The posthumous, immensely erudite, and profusely illustrated two-volume essay on the danse des morts by the artist and historian of Rouen Eustache-Hyacinthe Langlois (1777-1837)12, which Baudelaire is known to have consulted and which gave him the idea for a possible, though in fact rejected, frontispiece for the second edition of Les Fleurs du Mal13, offered abundant illustrations of skeletons bearing, and sometimes utilizing, both scythes (in evocation of the ‘Grim Reaper’) and spades, while, as Antoine Adam himself pointed out with regard to “Le Squelette laboureur”14, the fourth woodcut in the younger Holbein’s influential series Les Simulachres de la mort, first published in Lyons in 1538, shows a skeleton wielding a spade alongside biblical Adam, the inspiration clearly deriving from the maledicta terra of Genesis, 3,17. In La Rabouilleuse, a novel in which Mme Bridau sees a contribution to the Champ d’Asile as a case of maternal duty, the legitimist Balzac would call the Appeal «une des plus terribles mystifications connues sous le nom de Souscriptions nationales» before denouncing the Liberals’ hypocrisy, both directly and through the mouth of Philippe Bridau in a scene which, pointedly, takes place in the café Minerve (La Comédie humaine, IV, pp. It was with the same figure in mind that Flaubert had the President of the Comices agricoles in Madame Bovary incorporate a reference to ‘Cincinnatus à sa charrue’64. Laboreur qui en soing et painneAvez vescu tout vostre temps:Morir fault cest chose certainneReculler ny vault ne contens:De mort deves estre contensCar de grant soussy vous delivreApprochez vous ie vous actensFolz est qui cuide tousiour vivre. Books and journals Hopkin bases his discussion on the important study by G. de Puymège, Chauvin, le soldat-laboureur, Paris, Gallimard, 1997. Dupuy draws on the comments of Dr Louis Véron in Mémoires d’un bourgeois de Paris, 5 vols, Paris, Librairie nouvelle, 1856, II, and notes (p. 203): «si l’on rapproche l’histoire du Champ d’Asile des premières pages de la Rabouilleuse, il ressort que Balzac a très fidèlement rappelé les péripéties essentielles de ce cas de colonisation avortée». In 2004, EUP was awarded charitable 57 «“Le métier est trop rude, dit-il un jour à Antonmarchi, je n’en puis plus, mes mains me font mal. There was, in other words, much to encourage an imaginative transformation of the single skeleton of the title and the planche d’anatomie (which are not to be thought of as wholly synonymous) into a plurality of ‘squelettes qui bêchaient’. Gabriel Grossi. Le Jeu est un poème de Baudelaire publié dans la section Tableaux parisiens dans l'édition de 1861 des Fleurs du Mal. Access supplemental materials and multimedia. He was, for Baudelaire, the detested ‘grand peintre’, just as Béranger was the detested ‘grand poète’69. Read Online (Free) relies on page scans, which are not currently available to screen readers. Campbell actually translated it twice, once very freely with the title “Overture” and once less so as “The Skeleton Navvy”. Analyse du poème Le Revenant de Charles Baudelaire. A footnote to the three lines placed within quotation marks refers the reader to the passage in the Georgics that begins ‘Grandia ossa…’. 19 The reference to Orcagna in an early version of “Le Mauvais Moine” supports Prévost’s view that this latter poem had as its starting point the Trionfo della morte in the Campo-Santo in Pisa, which was at that time attributed to Orcagna (see Prévost, Baudelaire, pp. Les vers sont des octosyllabes et les rimes sont embrassées (ABBA). This item is part of a JSTOR Collection. In honor to his memory, here is his poem Le Squelette laboureur (tr. LES FLEURS DU MAL by BAUDELAIRE/ROUAULT and a great selection of related books, art and collectibles available now at AbeBooks.co.uk. As Claude Pichois has noted, the poet’s reference to «maint livre cadavéreux» has resonance with regard to both the contents of the volumes and their condition (see Baudelaire, Œuvres complètes, Paris, Gallimard, 1975-76, Bibliothèque de la Pléiade, 2 vols, I, p. 1023, n. 2). An earlier depiction of the figure, one of two painted by Pierre-Roch Vigneron in 1818 and known only through an engraving by a certain A. Moreau, had already included an unearthed skull36. Schenik was a place name in Armenia, and I am indebted to my colleague Dr David Willis for the additional information that Armenia produced much of the brandy consumed in Eastern Europe. Léon Brice reveals that the French police regarded the latter as a dangerous hothead and conspirator and argues, with reference to the involvement of the convicted pirate and Bonapartist Jean Lafitte, that the idealist tenor of the Champ d’Asile propaganda was a front for Lallemand’s desire to mount an expedition to ‘spring’ Napoleon from Saint-Helena (see Les Espoirs de Napoleon, Paris, Payot, 1938, chapters 24 and 25). À la prochaine fois!” Et il jeta la bêche» (O. Aubry, Sainte-Hélène, Paris, Flammarion, 1935, 2 vols, II, p. 150). He named Navarrez [his bodyguard], who had been used to rural occupations, his head gardener, and worked under his directions […] The Emperor became fond of his new employment. Je voudrais vous parler aujourd’hui d’un vers admirable de Jean Racine. Puisles enseignes profitèrent de sa vogue, et les devants de cheminée se disputèrent sa moustache grise, son bonnet depolice, sa croix d’honneur et sa bêche. There is certainly no suggestion of the agricultural tasks to which the poet of “Le Squelette laboureur” alludes. The Vesalius spade may have served as Baudelaire’s starting point, but if so, the transformation from motionless pose to the act of digging, together with the immediate passage in the poem from singular to plural, leaves the original behind. Le crépuscule du soir 17Leaving aside the question of dominant political affinity attributed to the soldat laboureur, it was inevitable that the idealized nature of the figure should attract derision in certain quarters, beginning, albeit in a mild form, with Charlet himself, who maintained with reference to examples of his own work: «J’entends un railleur dire au public: ‘n’achetez donc pas ce cahier de croquis, c’est encore un soldat-laboureur’»59. 66 Quelques caricaturistes français, in Baudelaire, Critique d’art, suivi de critique musicale, edited by C. Pichois, Collection Folio Essais, Paris, Gallimard, 1992, p. 206. EUP has a significant journal and book publishing programme, with 120 in order to validate the imputation of the source of “Le Squelette laboureur” to the discovery of a copy of De humani corporis fabrica by the bibliophile poet, it is habitu-ally claimed by Baudelaire’s commentators that among the illustrations to Vesalius’s volume are to be found one or more skeletons in the act of digging. 18 Baudelaire’s initial title for “Danse macabre” was “Le Squelette”. Baudelaire’s phrasing was prescient of the letter Napoleon III addressed to the gravely ill Vernet in December 1862: «Mon cher monsieur Horace Vernet, je vous envoie la croix de grand officier de la Légion d’honneur, comme au grand peintre d’une grande époque» (quoted by V. Duruy, Histoire populaire contemporaine de la France, Paris, Hachette, 1864-66, 4 vols, IV (1866), p. 413; Duruy had no hesitation in designating Vernet ‘le peintre favori de la monarchie de Juillet’ (ibid.)). Today is the birthday of Charles Baudelaire. It would appear to have the form of an alcoholic beverage label, an assumption seemingly confirmed by the centrally positioned caption: ‘Schenik du Soldat laboureur’. Much earlier, in the Code des gens honnêtes (1825), he had opined: «Après la sottise que l’on commet en épousant une femme sans dot, la plus cruelle c’est celle de donner dans toutes ces vertus patriotiques de dons, d’offrandes, de souscriptions monarchiques et patriotiques du Texas, du champ d’Asile, de statues à ériger, de palmes d’or et d’épées à M. le général Un tel» (Œuvres diverses, II, p. 217). Ces mots latins signifient « souviens-toi que tu vas mourir ». — Charles Baudelaire. 11 As may be more obviously inferred, for example, from the spade gripped by the skeleton in the illustrations of ‘L’Astrologien’ and ‘Le Médecin’ in Guyot Marchant’s La Grant Danse macabre des hommes et des femmes of 1485 (for a description of the figures in this work see J. Saugnieux, Les Danses macabres de France et d’Espagne et leurs prolongements littéraires, Paris, Les Belles Lettres, 1972, p. 20; see also N. Zemon Davis, Holbein’s “Pictures of Death” and the Reformation at Lyon, «Studies in the Renaissance», 3 (1956), 104-30). It is reproduced in Athanassaglou-Kallmyer, Sad Cincinnatus, p. 69. 22Thus, instead of confining itself to the anatomical drawings evoked in its opening line and deepening the reproduction of the latter’s features and weaving their specific connotations and associations into a compositional whole, Baudelaire’s “Le Squelette laboureur” blurs the initial image it evokes as its starting point through an embracing of further images suggestive of two fields of reference that are distinct both from the anatomist’s world and from each other70. Such a reading might be held to reinforce the medieval associations of the danse des morts. 9When sold in 1827, Vernet’s painting of the figure (executed in 1820 for his patron the duc d’Orléans and now in the Wallace Collection) was given the following, historically precise description: «Un ancien soldat de la vieille garde impériale… aide son vieux père à cultiver ses champs»32. 36 The engraving is reproduced as Figure 2 in Athanassaglou-Kallmyer, Sad Cincinnatus, p. 66. Il se trouve dans la scène 2 de l’acte IV de Phèdre, l’une des plus célèbres tragédies du grand dramaturge. Moreover, alongside the plough, the spade featured prominently in a number of the depictions of the soldat-laboureur, as it had in representations of Cincinnatus37. In the case of the recourse to capitalization, ‘Beauté’, ‘Écorchés’, ‘Squelettes’, ‘Néant’ and ‘Mort’ are but the markers of this allegorization, the latter’s product rather than its determinants. 22 Balzac, Œuvres diverses, II, pp. 2, Poems that matter 1950-2000 (Autumn/Winter 2009), Access everything in the JPASS collection, Download up to 10 article PDFs to save and keep, Download up to 120 article PDFs to save and keep. Their subsequent recognition is inconceivable without prior possession of the cultural context within which Baudelaire had reflected on the nature of both art and society. Though inspired by Bertrand, Baudelaire's prose … JSTOR is part of ITHAKA, a not-for-profit organization helping the academic community use digital technologies to preserve the scholarly record and to advance research and teaching in sustainable ways. J.-P.-M. Jazet’s 1821 example carried Delille’s translation of lines 493-497 of Book 1 of Virgil’s Georgics, which has the plough of the Roman veteran digging up ‘old spears’, ‘helmets’; and ‘heroic bones’34. If the Vesalius figure possesses an allusive function in allegorical terms, the only reasonable inference to draw is that the illustration gestures towards a conventional portrayal of the skeleton as gravedigger11. 197-201. 1 Pages • 1020 Vues. The danse des morts, or danse macabre, which explicitly provided the poet with the starting point for another of the “Tableaux parisiens” (in the form of the poem entitled “Danse macabre”18), was by definition plural, it being necessary to demonstrate that Death visits men and women of every estate and (in order to keep the artist employed) of varied occupations. Studi Francesi è distribuita con Licenza Creative Commons Attribuzione - Non commerciale - Non opere derivate 4.0 Internazionale. Le Squelette laboureur I. Dans les planches d'anatomie Qui traînent sur ces quais poudreux Où maint livre cadavéreux Dort comme une antique momie, Dessins auxquels la gravité Et le savoir d'un vieil artiste, Bien que le sujet en soit triste, Ont communiqué la Beauté, On voit, ce qui rend plus complètes Ces mystérieuses horreurs, He was the hero of the collections of virtuous stories, distributed free to children by priests and schoolteachers, and to conscripts in the army»45. Instead of retaining consistently throughout the medical perspective provided by the planches d’anatomie, Baudelaire uses the latter’s recognized association with allegory, not only to attract further examples of allegorical practice but also, and still more importantly from the point of view of his poetic art, to launch the creation of his own manner of allegorical representation that takes the form of a generic, intransitive allegorization of the real rather than the articulation of a specific allegory, the transitive nature of which demands completion through an act of translation by the reader74. The soldat-laboureur also gave his name to a variety of pear tree. 111-116). 17 A. Adam (Les Fleurs du mal, p. 387, n. 1) notes that another of Holbein’s Simulachres de la mort features ‘Le Laboureur’, but there is nothing in “Le Squelette laboureur” that can be said to derive from the artist’s drawing, which portrays a (spadeless) skeleton whipping the ploughman’s horse. Insofar as the image of the skeletons’ labour undoubtedly places them as prisoners of their social condition, whether the latter is regarded as serfdom or as the lot of the modern proletariat, the contract between soldier and society that had permitted the soldat-laboureur to serve as a prominent self-image of the French nation is here fatally shattered. Further disinclination to subject the poem to inquisitive scrutiny would appear to stem from the consensus surrounding the identity of its initial referent, namely the «…planches d’anatomie | Qui traînent sur ces quais poudreux». His physician Dr Antonmarchi encouraged him to dig in his garden as a means of remaining active. From the beginning, opponents of the Liberals tried to besmirch the Appeal: see «La Minerve», 5 (February 1819), p. 208, for the text of a statement that had appeared in Les Petites Affiches alleging the bankruptcy of the Minerve’s publisher. 63 See Pierrette, ibid., IV, p. 60). In such a way, “Le Squelette laboureur” provides a magnificent illustration of the way Baudelaire’s representations exploit non-denotatory and associative dimensions of language to embody the intangibles of metaphysics and ideology, offering the reader in the process an experience the powerful effect of which derives from its being simultaneously alluring and elusive, and thereby, it might be noted in the context of the English versions to which reference was made at the outset, issuing a near-impossible challenge to the would-be faithful translator. From the Comic to an Art of Modernity, University Park, PA, Pennsylvania State University Press, 1992, pp. Thus Antoine Unlike Balzac, he despised the work of Charlet, whom he described as «un artiste de circonstance et un patriote exclusif, deux empêchements au génie»66 . A similar collapsing of distinctions presides over the representation of space and time. Founded over fifty years ago, Edinburgh University Press became a wholly Previously, Prévost (Baudelaire, pp. 19As for Horace Vernet, the painter was in the eyes of the anti-militarist author of the Salon de 1846 above all a nationalist, ‘l’antithèse absolue de l’artiste’, ‘un militaire qui fait de la peinture’ (and thus obsessed with the correct number of buttons on a soldier’s uniform), a feuilletoniste, the producer of a ‘masturbatory art’ whose work was to be found on the walls of every type of dwelling68. ©2000-2021 ITHAKA. Irish University Review In his letter of 1 January 1859 to the editor of the «Revue contemporaine», Alphonse de Calonne, he highlighted «l’ironie criarde des anciennes danses macabres et des images allégoriques du moyen âge» (Baudelaire, Correspondance, I, p. 535). 16Nevertheless, the extent to which the soldat-laboureur became unambiguously identified with Bonapartism is clear from an anonymous ironical piece entitled “L’Indépendant. 164-165) had not only pointed out that this engraving was the inspiration for the opening of George Sand’s La Mare au Diable, but had also maintained that it was the source of inspiration for another of Baudelaire’s poems: “La Rançon” (Nouvelles Fleurs du mal). 1614-1615). 257-258, n. 10). His distress at the memories of war would be seen as a guarantee of his repentance»47. This was an expansion of a long essay devoted to an example Langlois had discovered at Saint-Maclou in Rouen, which he had published in 1832, firstly in the «Bulletin de la Société d’émulation de Rouen» and then separately as Rouen au xvie siècle et la danse des morts du cimetière de Saint-Maclou (Rouen, Édouard frères). 65 See http://flaubert.univ-rouen.fr/bovary/atelier/noms_propres/personnages2.htm. 167-182. 15 See R. Pennington, A Descriptive Catalogue of the Etched Work of Wenceslaus Hollar 1607-1677, Cambridge, Cambridge University Press, 1982, pp. Yet, as will have been noted, neither the danse des morts nor the soldat-laboureur is alluded to explicitly. Hunkeler, Mélancolie de l’anatomie. 4 Interestingly from the perspective of the present discussion, David Kelley, who insists that it is only the third quatrain of “Le Squelette laboureur” that «offers any direct description of the [anatomical] image», suggests that Baudelaire’s poem «could almost be thought of as a deliberate misreading of the image, the function of which is to demonstrate the human bone-structure» (D. Kelley, «Transpositions», in P. Collier and R. Lethbridge (eds. It is true that Servin has Bonapartist sympathies, but the similarities between the two studios are only of the most general nature. 47 Athanassaglou-Kallmyer, Sad Cincinnatus, p. 69. Ce n’est plus une mort douce et chrétienne, porte de l’espoir et du paradis, mais au contraire une punition effrayante qui attaque l’homme et sa vanité. new books and more than 30 journals published each year. The incorporation in “Le Squelette laboureur” of a layer of imagery and associations deriving from the danse des morts may be considered confirmed by Baudelaire’s phrase «forçats arrachés au charnier», in that the charnel house was part of the iconography of the danse, the most celebrated French example being that which had for centuries decorated the Cimetière des Innocents in Paris (demolished in … 69 Quelques caricaturistes français, p. 209. The texte of the Petit dictionnaire critique et anecdotique des enseignes de Paris reveals that the shop sign ‘Au soldat cultivateur’ was «une copie fort bien faite du beau tableau de M. Vigneron» and bore the familiar translation from the Georgics (L’Œuvre de Balzac, XIV, p. 277). [ix]-x. 34 See Ingamells, The Wallace Collection Catalogue, II, p. 275. 102-106). UK. Balzac duly gave the series an obvious puff in La Silhouette22, though it cannot be assumed that Baudelaire knew any of the nine caricatures that reached publication, given the absence of reference to the series in his discussion of Grandville’s art in Sur quelques caricaturistes français23. They included, Balzac would have us believe, the fictional Pierre Bridau51. As for Baudelaire, there is no doubt that he would have been receptive to the way the Vesalius plates portray skeletons in allegorical poses8. ), Artistic Relations. The Larousse du xixe siècle would later recall: Le soldat laboureur figurait alors partout, avait place à tousles foyers; on le rencontrait sous cadre doré dans les salonslibéraux; le bourgeois et le boutiquier l’honoraient d’unebordure de bois peint; suspendu par quatre clous, il avait saplace marquée à la muraille de l’ouvrier et du paysan. As Finot indicates in La Rabouilleuse49, the figure provided the model-image for the short-lived colony in Texas which had been founded under the name ‘Champ d’Asile’ by some three hundred former Napoleonic officers fleeing the repression of the Restoration50. It might be added that Flaubert included a Langlois and a Mme Langlois as inhabitants of Yonville in Madame Bovary. An account of the Champ d’Asile that does not appear to have been exploited by historians was also included by Pierre Colau in Le Soldat laboureur (pp. Le soldat défend le laboureur’, it has been shown by Athanassaglou-Kallmyer to be at the heart of a contemporary revalorizing of the Cincinnatus story, implicitly advancing the message that «defending and nourishing the motherland are two facets of a true Frenchman’s patriotic duty»38.
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