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Solving the riddle number 1

bonne réponse à la seconde the enigma que je vous est arrivée sur le proposais bloggue, commentateur venant du même, grâce my interviewer qualities (well? A blogging is it not better to get to know?) I discovered his identity on a network that is common to us - and indeed, until present (sigh!) provides too few visitors to this site. This young Hercules loves boxing (and probably practice this noble art ) and, neglecting neither painting nor the neo-classical opera pre-Romantic, ironically pushes some ideas. I found more answers in my email, the correct one (not many) other ... distressing. Ah! Do not talk! I'm surrounded by lights (I mean scholars) and reality around me it's obscurity ... We'll see with the next puzzle is more difficult for me.

groaned Enough! I admit that all is not sad in the state of blogger: I laughed when reading some messages. I chose to ignore the excessive caution of those who responded privately, and do you book the answer that was yesterday, at 20:38, posted here by Christopher:

"Reference to Zaire is clearly misleading, but interesting, since it contains so easily which is the portrait ... Giuseppina Grassini. And the work is therefore entitled "Giuseppina Grassini in the role of Zaire" painted 1804 (1805 according to some sources ...)"

Beautiful, is not it? The answer is to particularly interesting because it alludes to the question of the dating of the table (and indirectly the problem of the dating of the opera Zaire) on which I intended to write a text.

The second comment ... no comment! (gentle breeze).

And now that I post it?
Before returning to Elisa, I will add some light to dark lights that surround this portrait Giuseppina Grassini. I now find myself in the position of a storyteller East: I have proposed a riddle, you resolved it, my duty is to tell the story, and stories in history, and stories in stories in history. Where do I start? And how to untie the knots that enserpentent all relationships between the characters?

And the image at the top of this post? It
"Coronation of the bust of Voltaire by the actresses and actors of the French Comedy March 30, 1778" (at the end of the sixth performance of Irene , another bloody tragedy of Voltaire!). It is a engraving work of incredible refinement of Charles-Etienne Gaucher, run from a drawing by JM Moreau "le Jeune". The next time I publish a charming detail (hint: do not believe too much in my "next time" because I might be distracted by other ideas or projects on this blog). In the Italian version of this post (above) you see an ironic version and anonymous: the crowning of the old poet by Harlequin, testimony of the war between for nearly two centuries in both Paris and French troops Comedians Italian Comedians .

It symbolizes my praise to Christopher? No, it foreshadows my next post on the Zaire of Voltaire (we must start somewhere). Your
C.

Postscript 1 ( eh, yes, you've noticed? Invent words!): ... "The dark lights", remember? It's ... ? De ..? Of Corneille, Pierre (as we say in government). Pierre Corneille! But of course! Yes ... but what else? This is the beginning of the story of the battle the Cid wins over the enemies of his country, historically, erm, well, what to say ... Would there but poetically, musically! For those who, like me, through the years have felt bitter or sweet at least once in them, like an echo, like a wave, beat the drum of this story of blood and terror, some here to:

... This dark brightness that falls from the stars,
Finally, with the flow showed us thirty sail,
The wave swells below and, by common effort,
The Moors and ascend unto the sea port.

We let them pass, everything seems quiet ...

(Le Cid, circa 1273 to 1277)

And who would find the whole speech, and Cid all of our youth with the memory of Gerard Philipe, see the column left, media-library for me to surrender.

Postscript 2: to illustrate the Italian version of this post I inserted above an engraving dating from March 1778 and represents the same event in an ironic version which explains the anonymity of the author (Voltaire had powerful friends). Under the stage, reduced to a bust of the old philosopher surrounded three Italian actors, these two lines:

"It is nice to receive
When Harlequin who gives it."

this is the laurel wreath of course ... an allusion to the critical presence of various members of the nobility (among which the young Count d'Artois, brother of the king, the future Charles X) in this symbolic coronation. Burning is also a document of the ruthless war that pitted for nearly two centuries the troupe of Italian comedians than the French Comedians, a conflict that will end in the hurly-burly with the revolutionary suppression of monopolies of these troops in the field and the opening of many theaters (but not the suppression of censorship ...).