In general, the 17th century was religiously intense in Europe. The Catholic church was particularly on the defensive, in part because of the threat from Luther’s followers, but also because of anti-Catholic England.
(Drawing by Jean-Jacques Olier, image from the Confrérie du Saint-Sacrement, 1643)
The struggle for power (and souls!) helps explain the existence of extremist religious factions — and actions — everywhere.
In France, one of the things the Catholic church waged war against was the theatre, which they saw as a threat.
Actors, by their very employment, were excommunicated, and at least one archbishop prohibited his clergy from marrying them. They were forbidden Communion and were not permitted to be buried on holy ground.
In order to be buried by the Church, actors had to renounce the stage forever and ever. A number of players resorted to this on their deathbed, but others were caught out by an unexpected demise. The 18th century actress Adriana Le Couvreur, for example, had to be buried in a field for cattle on the banks of the Seine, as one would bury a dog.
Molière was particularly despised by the Church. As he lay dying, the priests of his parish refused even to come to hear his renunciation. By the time one priest relented and finally did arrive, it was too late.
(“The Death of Molière,” artist unknown — at least to me.)
It was only with extreme difficulty (and likely money) that King Louis XIV was able to persuade the Church to bury Molière — and even so, the Church required that France’s most popular playwright and actor be buried at night without fanfare, in unconsecrated ground where criminals were buried. The people, clearly not in agreement with the Church’s condemnation, thronged the streets with candles and torches to watch his coffin pass.
The “war” against theatre had been taken up by several extremist groups, including the secret society, Compagnie du Saint-Sacrament (Company of the Blessed Sacrament). Although Louis XIV is generally perceived to be an all-powerful king, he was powerless against the Church, and especially against the Company, which had insisted, earlier, that Molière’s Tartuff be banned. Both the King and his brother were Molière supporters, yet they could do little when faced with this conservative faction. The ban lasted for five years (and nearly broke Molière’s spirit) — in spite of Royal opinion.
(Vincent de Paul)
The novel I’m writing now is largely about the world of the theatre in 17th century France, and the “Company” figures as an evil force in it — as they certainly could be at times, historically. However, they also did important good work. Vincent de Paul was of their number, and the Company no doubt contributed to his wonderful, compassionate work.
Click here to read more about the powerful secret society, the Company, described by some as “a state within a state, a church within a church.”
Thank you for the insight. Having research for a piece of speculative historic fiction in this direction, it doesn’t surprise me as being one of the countless acts of the Counter-Reformation. It soon knew no limits resulting the the 30 Years’ War.
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What they did to actors in France seems like peanuts to the dimensions the Counter-Reformation underwent under Rudolf II. In the Episcopate of Fulda they rounded up almost 300 women and young girls and burned them at the stake between 1600-1602
Oh, that takes my breath away. How horrifying, Celeste. Sometimes historical research can be so tough.
Hi Sandra,
I’ve done a lot of reading on the reign of Louis XIV, my favorite historical period. As such, I was aware that theater folk, while supported by pleasure-addicted aesthetes like Madame de Montespan, were, as people, considered marginal at a time when the nobility of one’s birth determined one’s status in the world.
However, I must admit this is the first time I’ve heard of the Company. How fascinating! And what great fodder —”a state within a state, a church within a church” — for a novel about the lives of actors trying to express their art in a glorious, but also sometimes treacherous and reactionary, society. Wonderful, wonderful, wonderful!
Best,
Jordan
Hi Jordan,
In the novel I’m writing now, The Company is a ghostly presence. I don’t know how much detail I will get into, but it’s a very tempting subject for other works.
Was it a spy network? Were they aiming to overthrow the King? How was Fouquet involved? And, for that matter, (future) Saint Vincent de Paul? Was he a saint and spy?
It all gets into the mysterious realm of The Holy Blood and the Holy Grail by Baigent, Leigh and Lincoln (have you read it?) and Dan Brown’s blockbuster, The Da Vinci Code. Headquarters of the Company are said to be the church of Saint Sulplice (others differ) — but I think if the church’s archives were ever opened up, there would be a goldmine of stories there.
Thanks for the informative response. Given my lack of awareness on this subject, it’s greatly appreciated. And given that you’ve mentioned in the past that you’d like to “stay” in 17th Century France in future works, I agree that this could be the “tempting subject” that allows you to do so. And sale-able, too, considering the popular conspiracy-themed works you mentioned above. (But perhaps you’re above such considerations!:)
Jordan, it is simply so mysterious and fascinating! After your comment, I started to consider putting more on it in the novel I’m working on now. We shall see.
As for sale-able, given that a novel takes years to write, the most important consideration is my own interest. Of course, it’s wonderful if it’s something readers find interesting, as well.
I realize that’s the way you work, and that’s why your books are so good. Great artists essentially make art for themselves, and intelligent audiences learn to love the unique storytelling voice that results from such an approach.
With regards to putting more of the Company into The Next Novel, I know you’ll do it only if it feels organic. As we know from bad Hollywood movies, there’s nothing worse than when a lousy suspense subplot is tacked onto a story that doesn’t need it, only for the purpose of “goosing” the third act. (I’m reminded of the heroin-smuggling climax in Three Men and a Baby — there’s a picture that really went off the rails.)
Yes, for sure!
Thank you for that. I knew that at various times astronomers, women, Jews, explorers, Huguenots, scientists, philosophers and every other minority group had been punished by the Church, but not actors.
Whenever you have a state religion and no separation of church and state, that church can totally dominate daily life. Worse still, there is no appeal for people who, for whatever reason, choose not to go along with church rulings.
So true, Helen. Thanks!