Pub Date : 2020-02-27DOI: 10.1093/oso/9780198852391.003.0023
N. Kenny
The Brouart–Vatable–Beroald–Verville family’s story is not one of smooth upward social ascent from artisanal origins. Both Matthieu and François, like numerous contemporaries, sought social status not only by producing learned and literary discourse but by writing themselves publicly into it. However, in François’s case the reliance of those representations on finding audience approbation in order to be socially effective made them fragile guarantors of status in comparison with the lower but more solid institutional kind that his father enjoyed and that François professed to despise. Also, as with the Marots, the men’s ascent through literature and learning did not pull the women up to the same extent. This case also illustrates that social hierarchy, experienced through the lens of family, was a complex imbrication of different factors, such as learning, literature, institutions, the book trade, vestigial family habits, self-fashioning, personality, and sheer accident or contingency.
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Pub Date : 2020-02-27DOI: 10.1093/oso/9780198852391.003.0015
N. Kenny
While La Croix du Maine and Sainte-Marthe were responding in part to representations of family—as underpinning literature and learning—that they found in some of the works they surveyed, on the other hand the pair were also extending the family function further still. The vast fields of high-cultural endeavour scoped by La Croix du Maine and Sainte-Marthe did not simply pre-exist their surveys but were further shaped by them. Both surveys were highly selective in social, gender, regional, and other terms. Sainte-Marthe’s Elogia perhaps communicate more profoundly than any other work in the period the triangular imbrication of (i) family, (ii) social hierarchy, and (iii) literature and learning.
虽然La Croix du Maine和saint - marthe在他们调查的一些作品中发现了家庭的表现——作为文学和学习的基础，但另一方面，这对夫妇也进一步扩展了家庭的功能。La Croix du Maine和saint - marthe所探索的广阔的高雅文化领域不仅仅是在他们的调查之前就存在的，而且是由他们进一步塑造的。这两项调查在社会、性别、地区和其他方面都有高度的选择性。在这一时期，《圣母的祈祷》可能比任何其他作品都更深刻地传达了(1)家庭，(2)社会等级，(3)文学和学习的三角结构。
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Pub Date : 2020-02-27DOI: 10.1093/oso/9780198852391.003.0008
N. Kenny
The production of works within families took two main, interconnected forms. First, collaborative production occurred between family members, most often between ones related by blood. Secondly, some families spawned more than one literary producer (in the sense of author, editor, or translator). Although in a few cases this continued over many generations (the Sainte-Marthe family being the extreme case), in most instances the literary producers belonged to the same generation as each other or to immediately successive ones. In practice, those two forms of the production of works within families were often entwined: subsequent literary producers in a family often edited a parent’s works as well as writing new works. I call both forms ‘family literature’. In other words, I use the phrase for works that emanated from a family that spawned more than one literary producer, including, but not limited to, works that were co-produced by family members.
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Pub Date : 2020-02-27DOI: 10.1093/oso/9780198852391.003.0011
N. Kenny
Many early modern French works, ranging from individual poems to large-scale histories, were produced with a sense that they emanated not just from individuals but from families. Such works, which I call family literature, played a big part in the attempts by families and individuals to rise, or at least to avoid falling, within the social hierarchy. Their production became part of what some families were socially or of a new direction in which some members wished to push the family. Literature could be presented as the voice of a lineage as much as of an individual. It was often designed to pin down the image of a family that circulated among readers rather than to open it up. But, through its orientation towards the future, family literature offered descendants and other future readers affordances, including as yet undetermined ways of renewing that image, and sometimes of questioning or disrupting it.
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Pub Date : 2020-02-27DOI: 10.1093/oso/9780198852391.003.0005
N. Kenny
Beyond the family, other collectivities also played a role in the production of written works that endured across generations. For literary and learned works, these other collectivities included: households (with their servants, secretaries, disciples, and collaborators in addition to family members); networks of clients, patrons, and friends; salons; courtly circles; institutions such as universities, humanist colleges, and printers’ workshops; religious communities ranging from monastic orders to Jesuits to Protestant churches. They had complex and varying relationships to families. Some overlapped with families or were supplementary extensions of them—especially households, governed by the family head. But some of these other collectivities were in competition with families for loyalty or offered an alternative to them. Moreover, literary and learned legacies could reach beyond the family to benefit broader communities.
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Pub Date : 2020-02-27DOI: 10.1093/oso/9780198852391.003.0024
N. Kenny
The systemic role of families in the production of much literature and learning in the early modern period needs greater recognition. Countless works were shaped by families’ practice of hunting in packs to maximize their place in society. This production of works was just one of many planks within the broader transgenerational strategies of families, commoner as well as noble. Works were woven into the wider webs of families’ inheritance and legacy practices. They helped families imagine their own futures and steer a course into it, even if that course subsequently swerved, forked, or faded. These families did not, however, represent society as a whole. They belonged overwhelmingly to social elites, whether noble or commoner. However, family literature was often rooted in anxiety, disappointment, and conflict as well as in hope and a sense of vocation, mission, or entitlement to power.
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Pub Date : 2020-02-27DOI: 10.1093/oso/9780198852391.003.0019
N. Kenny
The Marot family is a high-profile example of poetic craft enabling spectacular social ascent, and doing so across two generations. Such cases were rare, given the sheer fragility of such poetry-propelled ascent. Even in this case it did not benefit all family members equally—women less than men—and petered out despite a faint attempt to continue it in the third generation. The fragility was that of the two principal factors in the ascent: craft itself, which, as artisans had long known, could be even more difficult to transmit to the next generation than wealth; and royal-household employment, which was fraught with intrinsic uncertainties. The kind of patrimony produced within the Marot family was more narrowly based, as well as more fragile, than that of the many families that held high royal offices and aspired to multigenerational, dynastic continuity.
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