"Haiti" at the Theatricum Botanicum by Laura WAGNER

Total Page:16

File Type:pdf, Size:1020Kb

H-Haiti Review: Revival of William DuBois's "Haiti" at the Theatricum Botanicum by Laura WAGNER Discussion published by Laura Wagner on Tuesday, October 23, 2018 Review: Revival of William DuBois's "Haiti" at the Theatricum Botanicum By Laura Wagner (Duke University) When the Theatricum Botanicum in Topanga, California revived William DuBois’s Haiti this summer, it was the first time the play had been performed since it premiered in 1938, at the Negro Theatre Unit of the Works Progress Administration's Federal Theatre Project. Although the play has been widely misattributed to W.E.B. Du Bois, William DuBois was a white playwright and novelist who later became the editor of the New York Times Book Review. DuBois’s Haiti tells the story of the final months of the Haitian Revolution, featuring historical characters (Generals Toussaint Louverture and Henri Christophe on the Haitian side, General Charles LeClerc and Pauline Bonaparte on the French side) along with an array of imaginary subalterns, revolutionaries, servants, and lovers. A play’s revival is a curious thing, and it is not clear if it is better for audience members to view such a performance as a work of contemporary art or instead as a historical artifact. As a historical document, the play Haiti is a fascinating glimpse of how revolutionary Haiti was imagined and represented among “progressive” white Americans a mere four years after the end of the twenty-year US occupation of Haiti and nearly thirty years before the Civil Rights Act became law. In 1938, Haiti’s portrayal of Black triumph and interracial romance may have been radical for US audiences. As a standalone work of art in 2018, however -- presented without historical context or analysis of its creation -- the play’s perspective and politics are somewhat uneasy. Watching Haiti today, I was struck by seeming contradictions: sympathetic portrayals of Black characters right alongside warmed-over stereotypes of them. Haiti is a melodrama. Its aim is not verisimilitude, but rather the depiction of archetypal heroes and villains. The characters are symbols drawn in broad strokes, neither nuanced nor complicated. Christophe is a handsome and noble leader. Toussaint is the brilliant, but weary, general. Indeed, these historical figures are almost too noble and uncomplicated to be believable, and their purity makes them more saintly than human. Pauline Bonaparte, Napoleon’s sister and wife of General Leclerc, on the other hand, is shallow, petty, vain, heartless, and chronically seasick. Leclerc himself is cartoonishly brutal and bombastic, wildly resisting the French army’s inevitable defeat whilst succumbing to yellow fever, Citation: Laura Wagner. Review: Revival of William DuBois's "Haiti" at the Theatricum Botanicum by Laura WAGNER. H-Haiti. 10-23-2018. https://networks.h-net.org/node/116721/discussions/2882743/review-revival-william-duboiss-haiti-theatricum-botanicum Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1 H-Haiti vomiting blood into a basin held by a lackey. Certain clichés have not aged well. One of the play’s major protagonists, Odette, is the daughter of a white man and an enslaved Black woman. As a classic “tragic mulatress," she is beautiful and privileged, able to move through white society, yet forever viewed as exotic. As a woman of color returning to the land of her birth while married to the cruel and cunning French Colonel Boucher, she is characteristically torn between two worlds. Jacqueline, an older, formerly enslaved woman and member of thearmée indigène who becomes the seemingly loyal servant to the French troops, at times veers uncomfortably into a grovelling stereotype. However, her deference is eventually revealed to be a twofold tactical move on her part, enabling her to get close to Odette, the daughter she lost twenty years ago, and to spy on the French for the Haitian revolutionaries. “We were all slaves a few years ago. I am too old to forget,” Jacqueline states early on. At the beginning of the play, these sound like words of brokenness and resignation, but by the end, they are a declaration of resistance and revenge. For a play about the Haitian Revolution, white French characters get an awful lot of stage time. With the exception of Odette’s loyal but somewhat forgettable lover Duval, these characters are universally unflattering and unsympathetic -- the audience is clearly supposed to be rooting for the Haitian revolutionaries, in general, and for Jacqueline, in particular. Why, then, is so much of the dialogue devoted to the strategies of French military officers? Why do so many of the Haitian characters have no names? One is left to conclude that in 1938 white people still had to be foregrounded, even in a play about Black triumph, even in a play produced by the Negro Theatre Unit in Harlem. By changing the gender of one of the play’s protagonists, the 2018 Haiti revival makes a significant departure from the original script described above, and this change alters the essence of the original play. In the 1938 script, Jacqueline was Jacques, a former “house slave” at the Moreau plantation, and an adjutant to Christophe himself, a “slender mulatto of fifty with a fine, sensitive face,” whose long-dead “lover,” Marguerite, was an “octoroon,” “lovely, rich, white,” descended from enslavers and “a Gold Coast Queen” (DuBois 1938). In the 2018 adaptation, however, Odette is the daughter of Jacqueline, a Black woman, who was impregnated by the (white) son of the plantation owner who enslaved her. Both Jacqueline and Odette wear miniatures of the man in lockets around their necks, and Jacqueline still mourns her lost love. Perhaps this change was intended to challenge sexist stereotypes, since Jacqueline, a woman, is one of the play’s main revolutionaries. And I imagine that a mother-and-daughter reunion packs a readier emotional punch than the story of a daughter reunited with her father. The relationship between the two sympathetic female protagonists is the heart of the play, but the Jacques-to-Jacqueline gender-flip sends an even queasier message than the original script. Simply put, slaveholding men and enslaved women did not have torrid, consensual love affairs. Consent does not exist when one person is the legal property of the other. Slaveholding men raped enslaved women. While technically a play about the Haitian Revolution, all the action plays out in the salon of Citation: Laura Wagner. Review: Revival of William DuBois's "Haiti" at the Theatricum Botanicum by Laura WAGNER. H-Haiti. 10-23-2018. https://networks.h-net.org/node/116721/discussions/2882743/review-revival-william-duboiss-haiti-theatricum-botanicum Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 2 H-Haiti a Saint-Domingue plantation house -- a drawing room play about liberation and war. Haiti was written as a melodrama, and the actors and director lean into this. Earnestine Phillips in particular gave a poignant, impassioned performance as Jacqueline, managing to bring humanity to the role despite the heavy-handed dialogue. Mark Lewis played Leclerc to ridiculous effect. The sword-fighting scenes were unintentionally comical -- several audience members giggled as Christophe, ninja-like, fought of a bevy of armed Frenchmen single-handedly. The Theatricum Botanicum is an open-air amphitheater set into the the hills of Topanga Canyon, in California’s Santa Monica Mountains of California. The stage is rustic, surrounded by trees and scrubland. Haiti’s creative team took excellent advantage of the physical space. When the Haitian revolutionaries escape into the mountains to evade capture, strategize, and eventually seize the plantation, the actors dash through the steep, wooded footpaths behind the amphitheater. Certain other directorial choices were more discomfiting. The Black actors, portraying Haitian people, spoke with what I assume were supposed to be “Haitian” accents (which were not Haitian at all, but rather an inconsistent hybrid of French and generalized “Caribbean”), while the white actors, playing French people, spoke with either US American or British accents. The inconsistency of the dialect was disorienting, and, for all that the production clearly sympathizes with the revolutionaires, the fact that the Haitian characters were assigned the “foreign” accent clearly marked them as the Other. At two points, the Haitian characters break into song. The first time is subdued, as Jacqueline, in soliloquy, reveals to Christophe the story of losing Odette; the second time is triumphant, when the Haitian army emerges victorious over the French. Both times, they sing “Wangol-o,” a traditional Haitian folk song. It is a bittersweet and mournful song, conveying loss and longing. Wangol-o, w ale! Kilè w ap vini wè m ankò? Peyi a chanje, kilè w ap vini wè m ankò? Peyi a, peyi a, peyi a fin tonbe. (Wangol-o, you have gone. When will you come to see me again? The country has changed, when will you come to see me again? The country, the country has fallen at last…) As an audience member familiar with the song, the joyous reprise at the end of the play felt to me confusing, even somewhat obscene. Christophe and his men triumph, taking the plantation house and replacing the French flag with the Haitian bicolore, while Odette lies on the ground, having lost both her lover and her mother in short order. Christophe declares “Haiti is ours forever, my people! We are free!” and the Haitian characters sing, in jubilation: The country, the country has fallen at last… Despite these misgivings, I can imagine a compelling post-performance discussion with scholars of the Haitian Revolution, theater historians, experts on the WPA, and so on, who might discuss the context and history of the production.
Recommended publications
  • Mon Tgobert, Et Les Le Général Leclerc Bonaparte
    - 117 - Mon tgobert, le Général Leclerc et les Bonaparte L’histoire de Montgobert, qui constitue un des points d’attraction les plus fréquentés du Valois, est riche de souvenirs, mais ne seront envisagés ici que ceux qui concernent le général Leclerc, Pauline et les descendanis des Bonaparte. Le château domine le village dont on a pu dire qu’il était à trois étages : en bas, le ru de Retz, l’étang, le moulin, les prairies, au-dessus l’église, le village lui-même, quelques potagers, enfin, tout-à-fait en haut, sur le plateau de la colline, le château entour6 de son parc qui domine la vallée. Le village a été fondé au milieu du XIIe siècle par le leude franc Godbert qui lui donna son nom et dans les chartes de l’époque, on retrouve déjà mentionnés les noms de Mons-Gomberte, puis quelques décennies plus tard de Mongombert. ##* Le premier seigneur de Montgobert connu, Jean, participa sous Philippe-Auguste à la conqugte de la Normandie sur Jean-sans-terre, puis à la bataille de Bouvines, sous la bannière du Sire de Coucy. A la fin du quatorzième siècle, par le mariage de Marguerite de Clermont, dame de Montgobert, le château passa dans la famille de Nicolas, seigneur de Menou. Son fils Jean, chambellan de Charles VI devint seigneur de Menou et de Montgobert. En 1474 la terre fut vendue à Robert de Malortie, seigneur de Montgobert et de Villers-Hélon et trente ans plus tard à François de Barbençon. Une de ses filles, Marguerite, devait épouser le 15 juillet 1519, Robert de Joyeuse.
    [Show full text]
  • Fonds Famille Bonaparte (1797-1988)
    Fonds famille Bonaparte (1797-1988). Répertoire numérique détaillé (176AP/1-176AP/3). Par S. Lacombe et F. Aujogue. Révisé par Constance de Vergnette et Virginie Grégoire (2017-2020). Archives nationales (France) Pierrefitte-sur-Seine 2003-2020 1 https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_001912 Cet instrument de recherche a été encodé en 2012 par l'entreprise Numen dans le cadre du chantier de dématérialisation des instruments de recherche des Archives Nationales sur la base d'une DTD conforme à la DTD EAD (encoded archival description) et créée par le service de dématérialisation des instruments de recherche des Archives Nationales 2 Archives nationales (France) Préface Table de concordance Liens : Liens annexes : • Table de concordance 3 Archives nationales (France) INTRODUCTION Référence 176AP/1-176AP/3 Niveau de description fonds Intitulé Fonds famille Bonaparte. Date(s) extrême(s) 1797-1988 Nom du producteur • Napoléon Ier (empereur des Français ; 1769-1821) • Bonaparte (famille) • Bonaparte, Louis (1856-1879) • Bonaparte, Caroline (1782-1839) • Bonaparte, Lucien (1775-1840) • Bonaparte, Élisa (1777-1820) • Louis (roi de Hollande ; 1778-1846) • Napoléon III (empereur des Français ; 1808-1873) • Jérôme (1784-1860 ; roi de Westphalie) • Bonaparte, Napoléon-Joseph-Charles-Paul (1822-1891) • Eugénie (impératrice des Français ; 1826-1920) • Fesch, Joseph (1763-1839) • Borghese, Pauline (1780-1825 ; princesse) Importance matérielle et support Localisation physique Pierrefitte Conditions d'accès Communication libre sous réserve du règlement de la salle de lecture. Conditions d'utilisation Reproduction libre selon le règlement de la salle de lecture. DESCRIPTION Présentation du contenu Ces papiers divers de la famille Bonaparte furent acquis par les Archives nationales à partir de 1956, les achats et dons s'échelonnant jusqu'en 2016.
    [Show full text]
  • TIBCO® Graph Database Getting Started Guide
    TIBCO® Graph Database Getting Started Guide Software Release 2.0 November 2018 Two-Second Advantage® 2 Important Information SOME TIBCO SOFTWARE EMBEDS OR BUNDLES OTHER TIBCO SOFTWARE. USE OF SUCH EMBEDDED OR BUNDLED TIBCO SOFTWARE IS SOLELY TO ENABLE THE FUNCTIONALITY (OR PROVIDE LIMITED ADD-ON FUNCTIONALITY) OF THE LICENSED TIBCO SOFTWARE. THE EMBEDDED OR BUNDLED SOFTWARE IS NOT LICENSED TO BE USED OR ACCESSED BY ANY OTHER TIBCO SOFTWARE OR FOR ANY OTHER PURPOSE. USE OF TIBCO SOFTWARE AND THIS DOCUMENT IS SUBJECT TO THE TERMS AND CONDITIONS OF A LICENSE AGREEMENT FOUND IN EITHER A SEPARATELY EXECUTED SOFTWARE LICENSE AGREEMENT, OR, IF THERE IS NO SUCH SEPARATE AGREEMENT, THE CLICKWRAP END USER LICENSE AGREEMENT WHICH IS DISPLAYED DURING DOWNLOAD OR INSTALLATION OF THE SOFTWARE (AND WHICH IS DUPLICATED IN THE LICENSE FILE) OR IF THERE IS NO SUCH SOFTWARE LICENSE AGREEMENT OR CLICKWRAP END USER LICENSE AGREEMENT, THE LICENSE(S) LOCATED IN THE “LICENSE” FILE(S) OF THE SOFTWARE. USE OF THIS DOCUMENT IS SUBJECT TO THOSE TERMS AND CONDITIONS, AND YOUR USE HEREOF SHALL CONSTITUTE ACCEPTANCE OF AND AN AGREEMENT TO BE BOUND BY THE SAME. ANY SOFTWARE ITEM IDENTIFIED AS THIRD PARTY LIBRARY IS AVAILABLE UNDER SEPARATE SOFTWARE LICENSE TERMS AND IS NOT PART OF A TIBCO PRODUCT. AS SUCH, THESE SOFTWARE ITEMS ARE NOT COVERED BY THE TERMS OF YOUR AGREEMENT WITH TIBCO, INCLUDING ANY TERMS CONCERNING SUPPORT, MAINTENANCE, WARRANTIES, AND INDEMNITIES. DOWNLOAD AND USE OF THESE ITEMS IS SOLELY AT YOUR OWN DISCRETION AND SUBJECT TO THE LICENSE TERMS APPLICABLE TO THEM. BY PROCEEDING TO DOWNLOAD, INSTALL OR USE ANY OF THESE ITEMS, YOU ACKNOWLEDGE THE FOREGOING DISTINCTIONS BETWEEN THESE ITEMS AND TIBCO PRODUCTS.
    [Show full text]
  • Pauline Bonaparte
    Pauline Bonaparte compte-rendu de la conférence du mardi 17 avril 2012 donnée par Philippe Barjon de l'Académie du Var Résumé de la 1ère page écrit par Michèle Lambinet, illustration du conférencier, mise en page de Christian Lambinet. Société Hyéroise d'Histoire et d'Archéologie Sœur préférée de Napoléon 1er, immortalisée par la statue de Canova et célèbre surtout par le nombre de ses amants, Pauline Bonaparte est née dans la maison familiale d’Ajaccio le 20 octobre 1780. Grâce à son mariage avec Camillo Borghèse elle devint Princesse de Borghèse et grâce à son frère elle bénéficia du titre de Princesse et Duchesse de Guastalla. Pauline est née onze ans après son frère. Elle est morte quatre ans après lui le 9 juin 1825 et son corps repose dans la chapelle des Borghèse à l’église Sainte Marie Majeure de Rome. Elle a un peu vécu dans notre région (Toulon, Marseille, Le Cannet des Maures, Nice…). Elle fit de longs séjours au château de la Migarde à Aix en Provence ou dans celui de La Barben lorsqu’elle était la maîtresse d’Auguste Forbin. Du 3 décembre 1812 au 7 février 1813, elle fut de passage à Hyères dans la maison Filhe ou actuel Park Hôtel. Pauline Bonaparte, princesse Borghese (1780-1825) Née en Corse, elle passa une partie Peinture de Marie Guilhelmine BENOIST de sa vie en France mais aussi aux Antilles au musée national du château de Fontainebleau et en Italie. Ne disposant pas du texte du conférencier, je vous ai fait un "copier-coller" de l’article de Wikipédia qui résume la vie de cette femme surnommée par son frère Napoléon "petite païenne" et "ravissante créature très courtisée" illustré par les images du diaporama du conférencier..
    [Show full text]
  • View / Open 02 SRM 59.3 Moore.Pdf
    Fabienne Moore A Compromised Commerce with East India: Lucien Bonaparte’s La Tribu indienne, ou Édouard et Stellina (1799) n early 1799 at the age of twenty-four, Lucien Bonaparte (1775– I1840) published an exotic, sentimentalist first novel,La Tribu indienne, ou Édouard et Stellina.1 A native from Corsica who had been educated in France, Lucien Bonaparte had not yet traveled abroad, but Corsica’s recent struggle for independence from the Genovese Republic and its eventual conquest by France made the island a microcosm of local revolts against external powers, and certainly radicalized a young Lucien. La Tribu indienne, a colonial fiction set on the island of Ceylon (today’s Sri Lanka) relates “le commerce des Indes” through the story of Édouard Milford, a young Englishman sent to Java by his merchant father.2 Stranded in Ceylon where the Bedas tribe attacks his shipmates, Milford seduces and aban- dons the native woman who saves him, Stellina, the daughter of a tribal chief. With the exception of Cecilia Feilla’s critical edition, biographers and critics have dismissed the novel as a failed, or unimportant work, or confined themselves to an aesthetic reading of the text as proto-Roman- tic, disconnected from any colonial and imperial context.3 Yet the text is 1. Bonaparte, La Tribu indienne, ou, Édouard et Stellina, ed. Cecilia A. Feilla (London: Modern Humanities Research Association Critical Texts, 2006). References are to this edition and hereafter will be noted parenthetically within the text. 2. Bonaparte, La Tribu indienne, 27. For earlier examples of French colonial fictions, see Fictions coloniales du XVIIIe siècle: Ziméo.
    [Show full text]
  • 120, Rue Des Rosiers 93400 Saint Ouen (France) Tel: +33.(0)6.60.62.61.90 [email protected]
    120, rue des rosiers 93400 Saint Ouen (France) tel: +33.(0)6.60.62.61.90 [email protected] It was in Ajaccio on October 20, 1780 that Napoleon Bonaparte’s little sister was born. At birth she was given the name Paolina, but is better known by her French name of Pauline. Throughout her whole life, she was cherished by her older brother. Despite the disputes she had with Josephine, the future Empress, the relationship between brother and sister remained strong. She had a competitive relationship with her sisters-in-law, Eugenie, whom she called "the old woman" and then Marie-Louise, whose youth, on the other hand, stirred up her jealousy. Even after the Glory, she continued to visit him on the island of Elba. Pauline Bonaparte, a tumultuous love life: Her first love was Louis-Marie Stanislas Fréron (1754-1802), when she was only 13 and he 39. He was sent on a mission in the south of France where he had a passionate love life with the young woman. This deputy to the National Convention wanted to marry Pauline, but was already engaged to another. Learning of this, Napoleon separated the lovers. General Duphot Leonardo (1768-1797) also fell in love with the young woman. However he died in 1797 and the same year Napoleon offered the hand of his sister to Charles Victoire Emmanuel Leclerc (1772-1802), another brilliant general of his generation. From this love was born ten months later a son, Dermide Louis Napoléon, who died in 1806. For this marriage, Napoleon changed the name of his sister from Paolina to Pauline.
    [Show full text]
  • Getting Started Guide Version 3.0 November 2020
    TIBCO® Graph Database Getting Started Guide Version 3.0 November 2020 Copyright © 2020. TIBCO Software Inc. All Rights Reserved. 2 Contents Figures ................................................................................................3 TIBCO Documentation and Support Services ............................................................4 Overview ..............................................................................................5 Editions of TIBCO Graph Database .........................................................................................5 Installing Graph Database ..............................................................................6 Graph Database Folder Structure .......................................................................7 Configuring Graph Database ........................................................................... 8 File Information ............................................................................................................ 8 initdb.conf ............................................................................................................. 8 tgdb.conf .............................................................................................................. 8 tgsec.conf .............................................................................................................9 Graph Database Server Commands and Controls .......................................................10 Graph Database Admin Console .......................................................................11
    [Show full text]
  • Rewriting History in Alejo Carpentier's the Kingdom of This
    REWRITING HISTORY IN ALEJO CARPENTIER’S THE KINGDOM OF THIS WORLD AND MICHELLE CLIFF’S ABENG by Tricia Amiel A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida May 2012 REWRITING HISTORY IN ALEJO CARPENTIER'S THE KINGDOM OF THIS WORLD AND MICHELLE CLIFF'S ABENG by Tricia Arniel This thesis was prepared under the direction of the candidate's thesis advisor, Dr. P. Raphael Dalleo, Department of English, and has been approved by the members of her supervisory committee. It was submitted to the faculty ofthe College ofArts and Letters and was accepted in partial fulfillment of the requirements for the degree of Master of Arts. Andrew Furman, Ph.D. Interim Chair, Department ofEnglish Heather Coltman, DMA Interim Dean, The Dorothy F. Schmidt College ofArts and Letters ~TI r; 12.s?,-n- 6¥y; / /Z-) '7..P)2- Barry T. osson, Ph.D. Date- Dean, Graduate College 11 ACKNOWLEDGEMENTS The author wishes to express her sincere thanks to Dr. Raphael Dalleo for his guidance and support throughout the writing of this thesis. The author also wishes to thank all of the friends and family who encouraged her to pursue the degree, in spite of difficult odds. The author’s gratitude for this is boundless in depth and breadth. iii ABSTRACT Author: Tricia Amiel Title: Rewriting History in Alejo Carpentier’s The Kingdom of This World and Michelle Cliff’s Abeng Institution: Florida Atlantic University Thesis Advisor: Dr.
    [Show full text]
  • Lettres Du Général Leclerc, Commandant En Chef De L'armée De
    LETTRES DU GÉNÉRAL LECLERC COMMANDANT EN CHEF DE L'ARMÉE DE SAINT-DOMINGUE EN 1802 Tous droits de traduction, reproduction et adaptation réservés pour tous pays, y compris la Russie. Copyright by Société de l'Histoire des Colonies Françaises, Paris 1937. LE GÉNÉRAL•?Y^' LECLERC d'après une miniature el' Isabey appartenant au Prince (I'Essll,'ng BIBLIOTHÈQUE D'HISTOIRE COLONIALE ¡LETTRES DU GÉNÉRAL LECLERC COMMANDANT EN CHEF DE L'ARMÉE DE SAINT-DOMINGUE EN 1802 PUBLIÉES AVEC UNE INTRODUCTION PAR PAUL ROUSSIER PARIS SOCIÉTÉ DE L'HISTOIRE DES COLONIES FRANÇAISES ET LIBRAIRIE ERNEST LEROUX 49, BOULEVARD SAINT-MICHBL 1937 INTRODUCTION En 1789, la France occupait la première place dans le commerce colonial parce qu'elle possédait la plus belle colonie d'alors, Saint-Domingue. Quinze ans plus tard elle avait tout perdu, Saint-Domingue lui avait échappé ! C'est là vraiment la fin du premier empire colonial de la France, celui qu'avaient commencé Richelieu et Colbert. La vieille colonie conquise par les flibustiers et le système colonial qu'elle représentait ont péri dans la même tourmente que la vieille France et son organisation monarchique séculaire. Les troubles révolutionnaires ont commencé à Saint-Domingue aussitôt qu'en France et la colonie, tout comme la métropole, a connu les aspirations généreuses, les agitations des assemblées, la liberté, l'égalité, la fraternité et les massacres sanglants, la lutte contre l'étranger, les promesses de bonheur d'une consti- tution nouvelle. Et puis tout d'un coup, la rupture avec la France, la séparation complète, définitive, l'abolition totale du passé, la colonie de Saint-Domingue avait cessé d'exister, son nom même était perdu.
    [Show full text]
  • Verzeichnis Der Bilder
    VERZEICHNIS DER BILDER Seite Seite Carlo Maria Bonaparte, 1746—1785 1 Charlotte Robespierre. (Nach einer Lithographie von Letizia Bonaparte, 1749—1836. (Nach der Marmors Leclerc) 13 büste von Chaudet) 1 A. B. J. Robespierre, der jüngere, 1763—1794 ... 13 Geburtshaus Napoleons. — Nach einem Stich aus Bonaparte mit Junot vor Toulon. (Nach H. Bei? dem Anfang des 19. Jahrhunderts. (Collection lange) 14 Kircheisen) 2 Napoleon als Gefangener im Fort Carre bei Ans Zimmer, in dem Napoleon geboren wurde. (Jetziger tibes. (Gezeichnet von Weber, gestochen von Zustand) 2 Motte) 14 Taufzeugnis Napoleons 3 Ansicht von Saorgio im Jahre 1794. (Collection Taufzeugnis Luciens 3 Kircheisen) 15 Iri der Schule in Brienne. (Nach K. Girardet) • • • 4 Lucien Bonaparte, 1775—1840. Nach einem Gemälde Bonaparte in Brienne. N ach einem Modell von Röchet. von R. Lefevre. (Musee national de Versailles) 16 (Musee d'Ajaccio) 4 Christine Boyer, erste Frau Lucien Bonapartes. Nach Ansicht von Calvi. (Mit Erlaubnis des Prinzen Roland einem Gemälde vom Baron A. L. J. Gros. (Musee Bonaparte aus seiner „Excursion en Gorse" ab* du Louvre) 17 gedruckt) 5 General Lazare Höche, 1768—1797. Gestochen von Ansicht von Corte. — Nach einem Stiche von Des* Coquerel nach einem Gemälde von Boze. (Cols pois, aus dem Anfange des 19. Jahrhunderts. lection Kircheisen) 18 (Collection Kircheisen) 5 F. A. Charette de la Contrie, Führer der aufstäns P. Paoli, korsischer Patriot, 1725—1807. Nach einem dischen Vendeer, 1763—1796 18 Stich von D. Berger, Berlin 1769. (Collection F. A. Boieldieu, französischer Komponist, 1775 bis Kircheisen) 6 1834. Nach einem Stich von Anton Wachsmann. Paoli. (Nach einem im Auftrage von James Boswell (K.
    [Show full text]
  • History of Joseph Bonaparte King of Naples and of Italy
    9 / •JJilO! HISTORY OF JOSEPH BONAPARTE KING OF NAPLES AND OF ITALY. By JOHN S. C. ABBOTT, AUTHOE OF 'THE HISTORY OP NAPOLEON BONAPARTE," "THE FRENCH REVOLUTION," &c. NEIV YORK: HARPER & BROTHERS, PUBLISHERS, FRANKLIN SQUARE. 1869. Entered, according to Act of CoDgress, in the year 1S69, by IlAErER & Brotuers, In tlic Clerk's Onice of the District Court of the United States fur the Southern District of New York. : A^^ 5. PKEFACE. The writer trusts that he may be pardoned for relating the following characteristic anec- dote of President Lincoln, as it so fully illus- trates the object in view in writing these his- tories. In a conversation which the writer had with the President just before his death, Mr. Lincoln said " I want to thank you and your brother for Abbotts' series of Histories. I have not edu- cation enough to appreciate the profound works of voluminous historians, and if I had, I have no time to read them. But your series of Ilis- ^ torics gives me, in brief compass, just that which I J knowledge of past men and events need. I have read them with the greatest in- terest. To them I am indebted for about all '^ the historical knowledge I have." 6 It is for just this purpose that these Ilisto- rics are written. Busy men, in tliis busy life, ^ have now no time to wade through ponderous folios. And yet every one wishes to know the a46D85 VI PREFACE. general character and acliievements of the il- lustrious personages of past ages, A few years ago there was published in Paris a life of King Joseph, in ten royal oc- tavo volumes of nearly five hundred pages each.
    [Show full text]
  • Paintings & Sculptures List
    Russell-Cotes Paintings – The Boudoir Paintings & Sculptures List – The Boudoir The Garden of the Cardinal John Fulleylove (1845-1908) Oil on canvas John Fulleylove was born in Leicester. He originally trained as an architect with local firm "Shenton and Baker", before becoming an artist in watercolours and oils. He exhibited widely in England from 1871 at venues in London such as the Royal Academy, Royal Society of British Artists, Fine Art Society, Royal Institute of Painters in Water Colours, Royal Institute of Oil Painters, and in many other regional towns and cities. He became a member of the RI in 1879 and the ROI in 1883. Abroad, he painted in France, Italy, Greece and the Middle East. His watercolour illustrations appeared in several travel books, such as those by A & C Black. BORGM 00854 Princess Pauline Borghese, 19th/20th Century Sculptor Unattributed Parian Pauline Bonaparte (20 October 1780 – 9 June 1825) was an Italian noblewoman, the first sovereign Duchess of Guastalla in Italy, an imperial French Princess and the Princess consort of Sulmona and Rossano. She was the sixth child of Letizia Ramolino and Carlo Buonaparte, Corsica's representative to the court of King Louis XVI of France. Her elder brother, Napoleon, was the first Emperor of the French. She married Charles Leclerc, a French general, a union ended by his death in 1802. Later, she married Camillo Borghese, 6th Prince Russell-Cotes Paintings – The Boudoir of Sulmona. Her only child, Dermide Leclerc, born from her first marriage, died in childhood. She was the only Bonaparte sibling to visit Napoleon in exile on his principality, Elba.
    [Show full text]