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Louisiana French Creole Poet, Essayist, and Composer Donna M Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Leona Queyrouze (1861-1938): Louisiana French Creole poet, essayist, and composer Donna M. Meletio Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Meletio, Donna M., "Leona Queyrouze (1861-1938): Louisiana French Creole poet, essayist, and composer" (2005). LSU Doctoral Dissertations. 2146. https://digitalcommons.lsu.edu/gradschool_dissertations/2146 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. LEONA QUEYROUZE (1861-1938) LOUISIANA FRENCH CREOLE POET, ESSAYIST, AND COMPOSER A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Philosophy In The Department of English by Donna M. Meletio B.A., University of Texas San Antonio, 1990 M.A., University of Texas San Antonio, 1994 August, 2005 ©Copyright 2005 Donna M. Meletio All rights reserved ii ACKNOWLEDGEMENTS For their support throughout this project and for their patience and love, I would like to thank my daughters, Sarah, Maegan, and Kate, who are the breath and heart of my life. I would also like to thank the strong and beautiful women and men who have walked through this life journey with me: my life-long friend Dr. Denise Baskind and her husband Steve, my sister Mary Ann Appleby and her husband Bob, Mary Siffert, Susan and Steve Caspers, Lomeda Montgomery, Pat Nover and Greg, Eileen, and my wonderful family: my mother, my brothers Carl, Larry, and Richard; Mike and Tami Slater, Ken Jury, and Quintin Stansell. While I was LSU, I met many brilliant and compassionate people in the doctoral program, and if it were not for Shelisa Theus, Susie Kuilan, and Terri and Ryan Ruckel who offered love, encouragement, and academic passion, this path would have been too hard to travel. I would also like to offer my heartfelt thanks to my committee, Dr. John Lowe, Dr. Carolyn Ware, Dr. John Rodrigue, and Dr. Qiancheng Li who made this project possible. Last, I would like to thank one of the most remarkable teachers I have ever met, my director, Dr. Edward White, whose humor and kindness always gave me courage. iii TABLE OF CONTENTS ACKNOWLEGEMENTS….……………………………………………iii ABSTRACT……………………………………………………………...v INTRODUCTION……………………………………………...................1 CHAPTER ONE: BIOGRAPHICAL SKETCH…………………………..7 CHAPTER TWO: “WHO ARE THE CREOLES?”……………………..43 CHAPTER THREE: VIEUX CARRÉ…………………………………….67 CHAPTER FOUR: THE SALON CULTURE AS A FOLK GROUP…..92 CHAPTER FIVE: POLITICAL AND SOCIAL CONFLICT…………..126 CHAPTER SIX: QUEYROUZE IN LITERARY CONTEXT AMERICAN AND FRENCH………………………..173 CONCLUSION………….………………………………........................216 WORKS CITED……….………………………………………………...223 APPENDIX: POETRY…………………………………………………..234 VITA……………………………………………………………………280 iv ABSTRACT This new historicist study chronicles the life and work of a Louisiana French Creole, Leona Queyrouze (1861-1938) who grew up in the turbulent era following the Civil War. Her articles and poetry, mostly written in French, were published in the local periodicals, L’Abeille, Comptes-Rendus, the Picayune and the Crusader under the pseudonyms, Constant Beauvais, Salamandra, and Adamas. She also translated plays from French into English in New York under at the request of Harpers Bazar and wrote two symphonies that were performed at the World Exposition in New Orleans in 1884. Through an ever-widening critical lens, I focus upon her personal life, her ethnic identity as a Creole, the Vieux Carré, and her salon that included such notables as writer Mollie Moore Davis, Charles Gayarré, historian; Paul Morphy, chess player; Dr. Alfred Mercier, novelist and dramatist; General P.G. T. Beauregard, Adrien Rouquette, bohemian poet-priest, and Lafcadio Hearn who later became an important figure in the fusion of eastern and western literature. Her salon functioned as a folk group, one that created the Athénée for the preservation of French culture through its literary organ, the Comptes-Rendus. In the symbolic acts of conservatism and dynamism, according to the twin laws of folklore, they were instrumental in preserving the French Creole culture at the same time they were factors in its change. In her writing, Queyrouze addresses the key issues of the period and calls for egalitarian reform and suffrage even as she struggled with her own elitism and assumptions of racial hierarchy. In the final analysis, I compare her work to that of mainstream American writers, such as Charlotte Perkins Gilman, Mary E. Wilkins v Freeman, Sarah Orne Jewett, and Kate Chopin who were calling for social reform from within the patriarchal social structure while Queyrouze was positioning herself as an outsider in work that was both elegiac and rebellious. Contrary to the Protestantism and realism of her counterparts, including George Washington Cable, Queyrouze followed the French romantic aesthetic traditions codified by Victor Hugo and Alfred de Musset, and as such, her work challenges our notions of a monolithic American literature. vi INTRODUCTION I discovered Leona Queyrouze in the summer of 1995 when I retreated from a summer storm into a museum off Jackson Square in New Orleans. As the rain continued to pour outside, I walked the halls of the Cabildo museum looking at portraits of kings, bishops, statesmen, and aristocrats. After a while, I came upon the arresting face of a serious young woman in a simple gown. Leona Queyrouze Barel-- the placard read--poet, essayist and composer. Intrigued, I asked a woman at the desk for more information about her, and she promised to send some to me. That moment was the beginning of a long journey into the research of her life and work, the French Creole culture, and the history and politics of the region. What emerged was a person as complex as the time and place she lived. Leona grew up in a time when the face of our nation was changing and when the conflict of the Civil War illuminated the vast ideological differences in our country. In this time of sweeping change and growth, America was a vast flood taking all with it, and cultures that had been dominant in certain areas of the county either became part of the mainstream or were left behind. While many ethnic groups successfully assimilated into American culture, the French Creoles consciously chose to separate themselves. Whether this was due to French chauvinism or as a reaction against Anglo-Saxonism as described by Nell Painter’s Standing at Armageddon, the Creoles orchestrated their own demise. Their story, however, is one aspect of American history that deserves recognition because it demonstrates the dilemma faced by many ethnic cultures: If the French Creoles defined themselves by their own ethnic markers and pitted themselves against the Anglo- Americans, they risked marginalization, but if they did not take that risk, they faced an untenable situation—the loss of their heritage. In the latter case, the Creoles loss is our 1 own, for we lose the depth and richness that this culture would have offered, and we also lose the ability to see our history and our society in all of its complexity. This intersection of conflicting dynamics between dominant and non-dominant cultures is one worthy of investigation because it demonstrates how cultural differentiation can affect the inclusion of an ethnic group into mainstream culture. To that end, a study of the French Creole culture, and particularly the personal observations of one of its members in the person of Leona Queyrouze can enhance our understanding of our own cultural and political history. According to Marc Shell and Werner Sollors, the value of such a study can “bring about a much-needed reorientation in historical consciousness [ . that] may force readers to question past and current generalizations about literature and history of the United States” (9-10). This has been the ultimate goal of my study, and the key in achieving this objective is to focus on those who experienced the tumultuous period while being powerless to effect any change or exert any influence other than to share their opinions through personal correspondence and through the publication of commentary in the newspapers. Edward L. Ayers points out that “new chronologies and issues emerge when we look beyond the public realm, when we explore the diaries and fiction as well as editorial and political correspondence” (vii). Such is the case for Leona Queyrouze who published her opinions under her own name and under the names of Constant Beauvais, Salamandra (Greek: “Fire-lizard,” symbol of unshakable courage and faith that cannot be destroyed by fire), and Adamas (Greek: “Unconquerable,” the metal used to make the swords for the gods; another name for a diamond). Leona retained a love of French literature and culture while addressing the cause of social justice, yet, she like many others, was susceptible to social prejudice. This 2 investigation of Leona’s Queyrouze’s letters, poetry, essays, and short stories will reveal that her political views were more complex than the polarizing
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