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Street Songs and Cheap Print During the French Wars of Religion

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Street Songs and Cheap Print During the French Wars of Religion UC Berkeley New Faculty Lecture Series (formerly Morrison Library Inaugural Address) Title Street Songs and Cheap Print During the French Wars of Religion Permalink https://escholarship.org/uc/item/9j16t6bq Author van Orden, Kate Publication Date 1998 eScholarship.org Powered by the California Digital Library University of California M o r r i s o n Lib r a' r y I n a. u g u r a l A d d -ee s s .:S e r i .e s 6* I .- 1 Street Songs and'Cheap Print During the French Wars ofReligion . .. ~~~.L. University of California, Berkeley 1998 Morrison Library Inaugural Address Series No. I n Editorial Board Jan Carter Carlos R. Delgado, series editor Judy. Tsou, issue:editor *-We wish to tharik the Bibliotheque nationale de France for permission to print Figures 1-4.' Morrison Library: Alex Warren Text'format and design: Mary Scott ©- 1998 UC Regents ISSN: 1079-273 Published by: The Doe Library University of California- Berkeley, CA 94720'-6000 We wish to thank the Department ofMusic for supporting the lecture and the publication of this issue. PREFACE The goal of this series is to foster schol- arship on campus by providing new faculty members with the opportunity to share their research interest with their colleagues and students. We see the role of an academic li- brary not only as a place where bibliographic materials are acquired, stored, and made ac- cessible to the intellectual community, but also as an institution that is an active partici- pant in the generation of knowledge. New faculty members represent areas of scholarship the University wishes to develop or further strengthen. They are also among the best minds in their respective fields of specialization. The Morrison Library will pro- vide an environment where the latest research trends and research questions in these areas can be presented and discussed. Editorial Board STREET SONGS AND CHEAP PRINT DURING THE FRENCH WARS OF RELIGION Songs Punishable by Death Early in December of 1564, the town crier of Lyon traveled through the city and its surrounding areas to announce a royal ordinance against the singing of "dissolute songs." It was but one of a number of edicts made by the King's provincial governor, de Losses, that aimed to squelch the religious violence lingering in the wake of the first civil war. The edict of pacification of 1563 had promised liberty of conscience to Protestants, but had been accepted only unwillingly by the town council of Lyon, and skir- mishes between Huguenots and Catholics continued to disrupt the calm of daily life in the city. This ordinance enumerates a num- ber of civil crimes, placing singing amid offenses such as vagrancy, gambling, and blaspheming the Virgin Mary. The printed record is as follows: Decree of the King and of Monseigneur de Losses.. not to blaspheme, gamble, nor sing dissolute songs, all upon pain of death by hanging. Lyon: Benoist Rigaud, 1564. Very express command is made to all vagrants and people without employment or trade, being in the said city, that, after the publication of the present [commands], they should forthwith vacate and go out ofthe said city and its faubourgs, upon pain of hanging. It is charged upon the above pains to all hoteliers, inn- keepers, and other persons of whatever quality and condi- tion that they might be, not to seclude, give lodging to, nor administer any board to the said persons beyond one night, without our express leave. And to remove the means of supporting and secluding the above-said vagrants and idle people, all people living in this city as well as in its faubourgs are forbidden to hold casi- nos in their homes and gardens, and to permit the playing of 7 dice, cards, ninepins, and other prohibited and forbidden games there, upon the said pain of hanging, as much against those who operate these said casinos as against those who would be found playing. Also in following the old Decrees and saintly constitu- tions of the King our Master, it is very expressly forbidden and prohibited to all persons of whatever estate, quality and condition that they might be to swear, blaspheme, spite, and renounce the name of God, to make other vile and de- testable sermons against the honor of God, the Virgin Mary, and the Saints, to sing or say dissolute songs and songs lean- ing toward sedition, or to agitate by insults or otherwise and under the pretext of Religion, upon the pains contained in these said Decrees. Copy checked against the original, by myself, Secretary to Monseigneur de Losse, Lieutenant general of the King... DAVOST The present decree here above was cried, read, and pub- licized by loud voice, public declamation, and the sound of the trumpet at each and every one of the crossroads and public squares usual for making announcements, procla- mations, and publications in the said city of Lyon by my- self, Claude Thevenon, clerk and assistant of Mister Jean Bruyeres, public crier of the said city, today, the fifth day of December, fifteen hundred sixty four. THE VENON. * This ordinance prescribes a cleansing of the body politic through the expulsion or execution ofvagrants, gamblers, and blas- phemers. The critical emphasis placed on songs as a transmitter of social disease and religious unrest must make us wonder, first and foremost, what songs are being censored here, and secondly, how *translationsfrom the French were done by the author. 8 we can account for the severity of the punishment accorded to the "crime" of singing them. Clearly several motives stand behind such a radical attempt to silence those who employed songs in their sectarian goals. The political and social clime that produced this edict was one of popular religious riot, of religious vigilantism, if you will, in which particular songs were hyper-charged with mean- ings that could rally a crowd to violence. And popular violence always threatened the authority of the state. In the first instance, de Losse's ordinance was directed at Hu- guenot psalms. Since 1551 or earlier, psalms had been sung dur- ing public protests. In 1551, printers' journeymen in Lyon staged an armed procession in which they led their wives and artisans through the streets singing psalms and shouting insults at Catho- lic onlookers.' Owing to events like this one, Henry II banned the public singing of psalms in 1558, though to little avail. The ban had to be reiterated innumerable times, and it is likely that de Losse's allusion to "old decrees" refers in part to previous proscrip- tions against these "battle cries" of the reformed religion. In the summer of 1564-just before the issuance of this ban-the Prot- estants of Lyon had obstreperously constructed a new temple in a vacant ditch allotted them, and a contemporary describes them "carrying the earth required to fill in the ditches, two by two, sing- ing their songs of Marot and de Bese." Huguenots in Lyon were hardly alone in coupling psalm-singing and religious activism: to give but one example, Psalm 144 was the victory cry in Sancerre to mark the Huguenot resistance during the siege there in 1572. Little wonder that the psalms were considered insurrectionary hymns, particularly when texts like that of Psalm 144 condoned militancy and holy war: "Blessed be the Lord my strength which teacheth my hands to war and my fingers to fight."2 Despite the well-documented cases of psalm-singing during religious protest, we should not necessarily read de Losse's 1564 ban as one exclusively targeting Huguenot psalms. Although the 9 Figure 1 10 Catholic liturgy offered up little music with the broad appeal and tuneful style of psalms, both Catholics and Protestants circulated brazenly seditious songs that were printed up as single or "flying" sheets known as "feuilles volantes" or "placards" (see Figure 1). Little larger than a piece of notebook paper, the first measures approximately eleven inches in height and the second approxi- mately thirteen and a half inches. Certainly the most ephemeral form of printed chansons, they were sung from and sold publicly in city streets and had a very short life-span. These rare examples were conserved by Pierre de l'Estoile, court diarist during the reigns of Henry III and Henry IV, who collected them in a large scrap- book of placards and engravings from the period of the radical Catholic faction known as the League (cc. 1576-1594).3 The melo- dies to which they were sung had achieved some renown and served as timbres or musical templates. New texts were written to the rhyme scheme of the original poem, and the timbre was indicated with the rubric "chanson nouvelle sur le chant de..." Figure 2 de- picts a Protestant placard in the form of a satirical proclamation by "Pope Pius Antichrist" against members of the reformed religion. Six declarations set off with large letters terminate with a song at the bottom of the page, a "Papal song to the tune of 'pourquoy font bruit"' that demands the Lutherans pay homage to an idola- trous and satanical Pope. The format of this placard mixes song and proclamation, reminding us that the walls lining the streets and squares used for the crying of public news were often plas- tered with placards both official and inflammatory. In the streets, cry mixed with song, and the traffic in printed news and propa- ganda was plied with regularity 11 Figure 2 12 The Presses of Benoist Rigaud in Lyon Owing to their fragility and timely nature, only a handful of sixteenth-century placards have survived to this day, even fewer with song texts.
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