Madame de La Fayette (1634–1693)
Author of The Princess of Clèves
About the Author
Disambiguation Notice:
Do not confuse or combine her with Marie Adrienne Françoise (known as Adrienne), Marquise de Lafayette (1759–1807), French émigré and memoirist married to Gilbert du Motier, the famous Marquis and General de Lafayette who fought in the American War of Independence.
Works by Madame de La Fayette
The Princesse de Clèves / The Princesse de Montpensier / The Comtesse de Tende (1992) 138 copies, 3 reviews
La Princesse de Clèves 4 copies
La Princesse de Clèves - PROGRAMME NOUVEAU BAC 2022 1ère - Parcours « Individu, morale et société » (2019) 3 copies
Madame de La Fayette: La principessa di Clèves - Racine: Fedra — Author — 2 copies
Histoire de Madame Henriette d'Angleterre: la Princesse de Montpensier: La Comtesse de Tende (1980) 2 copies
L'amor geloso: tre racconti 2 copies
Mémoires de Mme de la Fayette: Publies Avec Preface, Notes Et Tables (Classic Reprint) (French Edition) (2017) 1 copy
Mme de Lafayette. La Princesse de Clèves : Extraits. Avec une notice biographique... des documents... par Jean Borie (1968) 1 copy
Printsess de Cleves 1 copy
Mme de Lafayette/ B. Tavernier, La Princesse de Montpensier: programme de littérature Tle L bac 2018-2019 (2017) 1 copy
LA PRINCESA DE CLÉVES 1 copy
Memoires 1 copy
Kněžna de Clèves 1 copy
Memoires de Hollande 1 copy
La princesa de Cleves. Zaida 1 copy
Correspondance 1 copy
La Princesse de Clève 1 copy
La principessa di Clèves 1 copy
Associated Works
Tagged
Common Knowledge
- Canonical name
- La Fayette, Madame de
- Other names
- La Fayette, Marie-Madeleine Pioche de la Vergne comtesse de
Pioche de la Vergne, Marie-Madeleine (birth name)
Comtesse de la Fayette - Birthdate
- 1634-03-18
- Date of death
- 1693-05-25
- Gender
- female
- Occupations
- aristocrat
maid of honor
salonnière
writer - Relationships
- La Rochefoucauld, François de (friend)
Madame de Sévigné (friend) - Short biography
- Madame de La Fayette, née Marie-Madeleine Pioche de La Vergne, was born into a wealthy and well-connected family of French minor nobility. Her mother attended the duchesse de d'Aiguillon, a niece of Cardinal Richelieu. Her father, Marc Pioche, who added de La Vergne to the family name, died when she was 15. A year later, in 1650, she became a maid of honor to Queen Anne of Austria and began to acquire a literary education from the scholar Gilles Ménage, who taught her Italian and Latin. He also introduced her to the circle of précieuses who frequented the fashionable literary salons of Madame de Rambouillet and Madeleine de Scudéry. In 1655, Marie-Madeleine was married to François Motier, comte de La Fayette, a widower twice her age, with whom she had two sons. She accompanied him to his family estates in the Auvergne, although she returned frequently to Paris, where she successfully opened her own salon at her home, a sumptuous private mansion in the rue de Vaugirard. Madame de La Fayette became a close friend of Princess Henriette-Anne of England, future Duchess of Orléans, who asked her to be her biographer. With the encouragement of Ménage, Madame de La Fayette decided to take up writing. The only work of which she signed her own name was a short portrait of her friend Madame de Sévigné, which appeared in a collection entitled Divers Portraits. In 1662, she published La Princesse de Montpensier, a historical short story, under the pen name of Segrais. In 1669, she published the first volume of a novel called Zaïde, also under the name Segrais, with the second volume appearing in 1671. However, her most famous and lasting work was La Princesse de Clèves (The Princess of Cleves), first published in 1678, which was an immediate success. It is considered France's first historical novel, and a prototype of the early psychological novel as it explored the relationships between individuals in a new, realistic context. La Princesse de Clèves is still taught in high schools and universities around the world. Madame de La Fayette led a less active social life in her later years. Three of her works were published posthumously: La Comtesse de Tende (1720), Histoire d’Henriette d’Angleterre (1720), and Mémoires de la Cour de France pour les années 1688 et 1689 (Memories of the Court of France, 1731).
- Nationality
- France
- Birthplace
- Paris, France
- Places of residence
- Paris, France
- Place of death
- Paris, France
- Burial location
- Église Saint-Sulpice de Paris
- Disambiguation notice
- Do not confuse or combine her with Marie Adrienne Françoise (known as Adrienne), Marquise de Lafayette (1759–1807), French émigré and memoirist married to Gilbert du Motier, the famous Marquis and General de Lafayette who fought in the American War of Independence.
- Associated Place (for map)
- Paris, France
Members
Reviews
The nice thing about reading early specimens of what later become modes or genres is watching the problems that people will keep dealing with come up and be solved with elegant simplicity. So here, Lafayette wants to distance her stories from the romance tradition, without getting rid of all the fun stuff about the romance tradition (e.g., the idea of chivalric love and the turmoil it causes). She does it very easily, by turning to history. Her characters are for the most part historical show more figures who played very important roles in sixteenth century geopolitics, which leads to bizarre moments in which some guy falls in love with some woman but needs to be removed from her immediate vicinity for plot reasons... so he gets sent to Spain to negotiate for the King. The romantic plot intersects with the historical plot in such a way that you can get all the frisson of a soap opera, while being constantly reminded that the crazy things people are driven to do by 'love' often have massive, world wide repercussions: a marriage to a Queen has to be put off because the suitor falls for another woman; this causes diplomatic strain, which leads back to war.
So Lafayette avoids the big problem of the twentieth century novel (the domestic novel is opium for the masses; political novels are often very dull) by writing quite stylishly about high political figures and their love affairs. The same solution isn't open to writers today, of course, since we (sadly?) no longer have courtly centers of power.
On the other hand, Lafayette solves a number of other problems with equal elegance. Her characters tell a number of stories that either explicitly or implicitly comment on the main narrative strand, so she can have variety without disunity.
And she writes about the sixteenth century court from the perspective of the seventeenth century court, and so she can use each time period to comment on the other (e.g., using seventeenth century forms of speech), while also positing a higher ideal that neither court ever approached. (Plot Spoiler:) That is, if you accept that an intelligent woman realizing she doesn't need a man to live out her life in pleasure and peace is an ideal. Some, I imagine, more turbulently inclined than I am, would wish to see her ignore duty and tranquility for the sake of some super hot bonking with the dashing, if flighty, M. de Nemours. show less
So Lafayette avoids the big problem of the twentieth century novel (the domestic novel is opium for the masses; political novels are often very dull) by writing quite stylishly about high political figures and their love affairs. The same solution isn't open to writers today, of course, since we (sadly?) no longer have courtly centers of power.
On the other hand, Lafayette solves a number of other problems with equal elegance. Her characters tell a number of stories that either explicitly or implicitly comment on the main narrative strand, so she can have variety without disunity.
And she writes about the sixteenth century court from the perspective of the seventeenth century court, and so she can use each time period to comment on the other (e.g., using seventeenth century forms of speech), while also positing a higher ideal that neither court ever approached. (Plot Spoiler:) That is, if you accept that an intelligent woman realizing she doesn't need a man to live out her life in pleasure and peace is an ideal. Some, I imagine, more turbulently inclined than I am, would wish to see her ignore duty and tranquility for the sake of some super hot bonking with the dashing, if flighty, M. de Nemours. show less
La Princesse de Clèves is remarkable as one of the first real psychological novels to delve into the emotions, thoughts and interior life of its characters in great depth - in that aspect it feels ahead of its time in so many ways, as it does also in its moral ambiguity and the dilemma at its core over which debate raged (and to a lesser extent still does). Clèves predates Les Liaisons dangereuses by a century in its depiction of a fiercely regulated aristocratic society and order where show more the smallest indiscretions face ruthless punishment and shame even as the proper veneer disguises a seedy and illicit underbelly; the Princess' reactions to this and to the adulterous temptations she is drawn toward through the love of the Duke of Nemours are hard to discern the core root of, whether they be born out of genuine belief and martyrdom for a notion of purity or a more pragmatic withdrawal from the hothouse environment of the French court - she might appear a tragic victim of such a society even in the former instance, and the quasi-medieval view of passion and marriage as so in conflict gives this a pessimistic air to this day, but there's much in here to chew over and it's probably Mme. de la Fayette's finest accomplishment having previously read her shorter pieces.
________
As I commonly found with her works, the actual French vocabulary used is quite intuitive and easy to pick up; I had trouble at first because the first part of this novel is made up of one of the world's worst exposition dumps but it picks up greatly from there onward and also became a much easier read such that even though I was going from my Kindle I barely used the dictionary even if I sometimes had to struggle to piece together the older literary structure. Some wonderful literary French expressions and turns of phrase I learnt from this also. show less
________
As I commonly found with her works, the actual French vocabulary used is quite intuitive and easy to pick up; I had trouble at first because the first part of this novel is made up of one of the world's worst exposition dumps but it picks up greatly from there onward and also became a much easier read such that even though I was going from my Kindle I barely used the dictionary even if I sometimes had to struggle to piece together the older literary structure. Some wonderful literary French expressions and turns of phrase I learnt from this also. show less
Short but for me a slow read. The story itself is a sort of Mean Girls high school relationships situation (does he/she really "like" me?), and I was cheering when the Princesse finally blew off Nemours. (My sense was that Nemours does not know himself while the Princesse knows herself profoundly) What demands attention is the extreme inwardness of the narrative, mostly focusing on moral scruples associated with the disclosure of feeling, so different from the courtly love/allegory model show more from which it descends. To the point of claustrophobia, at times. Although the moral framework differs radically, the inwardness reminded me a bit of Virginia Woolf. show less
Madame de Clèves, jeune beauté parfaite en tout point, fait des débuts remarqués à la cour de la reine dauphine, belle-fille d'Henri II. Pour ce modèle de vertu, l'image de Diane de Poitiers plane tout au long du roman comme le contre-exemple absolu.
Mais sous des dehors innocents, la Princesse de Clèves, par sa faculté à analyser et à maîtriser ses sentiments, fait preuve d'une personnalité étonnante et rarement exposée avec tant de justesse auparavant.
Car, si l'amour courtois show more trouve ici d'indéniables échos, cet ouvrage paru en 1678, souvent considéré comme le premier roman de la littérature française, est indéniablement un pas énorme vers le roman tel qu'on le connaît aujourd'hui. La galerie de portraits dressée par Madame de Lafayette peut s'avérer un peu rébarbative pour le lecteur moderne, de même que sa langue est un peu austère. Néanmoins, l'analyse psychologique est d'une vraisemblance résolument novatrice et rachète l'invraisemblance de certaines scènes. En outre, l'exploit de faire naître tout un roman d'une intrigue aussi ténue, pratiquement sans action, fait de "La Princesse de Clèves" un ouvrage d'autant plus pathétique que les personnages laissent peu d'emprise aux événements extérieurs et se condamnent eux-mêmes. show less
Mais sous des dehors innocents, la Princesse de Clèves, par sa faculté à analyser et à maîtriser ses sentiments, fait preuve d'une personnalité étonnante et rarement exposée avec tant de justesse auparavant.
Car, si l'amour courtois show more trouve ici d'indéniables échos, cet ouvrage paru en 1678, souvent considéré comme le premier roman de la littérature française, est indéniablement un pas énorme vers le roman tel qu'on le connaît aujourd'hui. La galerie de portraits dressée par Madame de Lafayette peut s'avérer un peu rébarbative pour le lecteur moderne, de même que sa langue est un peu austère. Néanmoins, l'analyse psychologique est d'une vraisemblance résolument novatrice et rachète l'invraisemblance de certaines scènes. En outre, l'exploit de faire naître tout un roman d'une intrigue aussi ténue, pratiquement sans action, fait de "La Princesse de Clèves" un ouvrage d'autant plus pathétique que les personnages laissent peu d'emprise aux événements extérieurs et se condamnent eux-mêmes. show less
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