“In recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people and, in addition, his significant work as a Provençal philologist”
In this age of the European Union, international television, and the internet it is hard to believe within only a single generation before mine there were within Europe a vast array of languages. Today in Africa, and many other parts of the world, a person will speak at least three languages: the tribal language in which they were raised, the national language, and the European language adopted by their country. Such was the case in Europe at the end of the 19th Century. Provençal, the language of the south-east district of France called Provence, is a dialect of Occitan which was the language of the troubadours who took their music and literature over Europe in the 11th and 12th Century. Catalan, the language of Catalonia a province of Mediterranean Spain, is closely related. Even within Provence there are several dialects of Provençal. During the 19th Century France pushed hard to unite itself under one language. Today, although Provençal is taught in schools and universities it is only spoken by about five hundred thousand older citizens. Frédéric Mistral did much to preserve this ancient and beautiful language.
Not only did Mistral preserve a language, he preserved a whole culture and portrayed a time within it. I choose to read the epic poem Miréio for which he is best known. The poem is in 12 Canto (verses) and the edition I read had many footnotes. The footnotes were necessary because throughout he introduced plants, animals, places, local legends, and folk customs unrecognizable to someone not native to Provence. In so doing he introduces and preserves lore which could be lost. Not only are the words beautiful, the poem is stuffed with interesting bits of information. In Canto 11 we get a long explanation of just how Mary Magdalene, her sister Martha, their brother Lazarus and a host of those closest to Jesus left Palestine and came to live in Provence. This legend is the theme of many books, most recently Dan Brown’s De Vinci Code. Canto 4 describes in great detail the life and nature of a shepherd, a cattle rancher, and a horse breeder. Cantos 2 and 3 show us the process of silk production as practiced in the 18th Century. All through the rest we are given glorious views of the countryside, bits of local poetry, and interesting vignettes of local lore all packed into a melodramatic story of ill fated love.
Miréio is a beautiful young woman who lives with her parents on the prosperous Lotus Farm where she raises and harvests the cocoons of silk worms. She was of an age to marry and suitors both rich and masculine arrived at her door. One day an itinerant basket weaver arrived with his son Vincent and it was instant and enduring love. Maréio’s father was outraged and a spurned suitor who is a cattle rancher takes out his rage on the hapless Vincent severely wounding him. In desperation Miréio runs away from home hoping to find peace at the Shrine of the Three Maries. She has just reached her goal when Vincent and her parents find her dying of exposure. In her mind she rises in the boat with the three Maries to Paradise. The story is one we know, it is the language and the color which paint this old tale anew. Only occasionally does a piece of writing make me anxious to see the place where it is set. This is one of those occasions.
Canto VI
The Witch (first stanza)
The merry birds, until the white dawn showeth
Clear in the east, are silent every one
Silent the odorous Earth until she knoweth
In her warm heart the coming of the sun,
As a maiden in her fairest robes bedight
Breathless awaits her lover and her flight
I would encourage you to look up Frédéric Mistral. The words flow and the work is full of color. Now a look at José Echegaray, the Spanish playwright who shared the Nobel Prize in literature in 1904. No doubt Manuel de Falla with sangria and fried squid.
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