Yet, there is no mistake.<\/p>\n\n\n\n
In 1882, Maupassant published a short story under the title “Menuet”.<\/p>\n\n\n\n
When you think about it, it is not particularly atonishing. The late 19th century is the big time for historicism, a trend that concerns all arts. A few examples:<\/p>\n\n\n\n
- \n
- Architecture: Viollet-le-Duc rebuilds Notre-Dame de Paris and the castle of Pierrefonds to is medieval-inspired liking. The “neo” and “revival” styles also have their moment of glory: neoclassicism, baroque revival, etc.<\/li>\n\n\n\n
- Painting: academic painting considers history painting to be at the top of the hierarchy of genres. See, for example, Les Romains de la d\u00e9cadence<\/a><\/em>, by Thomas Couture (1847), or the works of John William Waterhouse<\/a>.<\/li>\n<\/ul>\n\n\n\n
You get the idea.<\/p>\n\n\n\n
This story aroused my curiosity. I asked myself several questions as I read the story.<\/p>\n\n\n\n
How historically accurate is this story? Will we be able to recognise the dance? Is it possible to identify the characters?<\/p>\n\n\n\n
I’m sharing the results of my research with you. And, let’s face it, a few tempting theories that have sprung up in my historian’s mind.<\/p>\n\n\n\n
Being a French native speaker, I write in English as good as I can. Please let me know if you spot any error. thank you!<\/em><\/p>\n\n\n\n
Menuet, a short story by Maupassant<\/h2>\n\n\n\n
Before my theories, let’s get some facts.<\/p>\n\n\n\n
Menuet <\/em> is a short story by Guy de Maupassant (1850-1893). It was published in the magazine Le Gaulois<\/em> on November 20th 1882, and reprinted in Contes de la B\u00e9casse<\/em> the next year.<\/p>\n\n\n\n
You can read the full story, in French, here<\/a>. If you don’t have the time, here is a quick abstract.<\/p>\n\n\n\n
Jean Bridelle, a young law student, goes for a walk every morning in the plant nursery of the Luxembourg Gardens. He regularly comes across an old man dressed in old-fashioned clothes. One day, the man, thinking he was alone, danced a few steps. Bridelle struck up a conversation. He learns that the old man used to be a dancing master at the Opera. The old man introduces him to his wife, La Castris, a once-famous dancer. The couple dance a minuet. Bridelle had to leave Paris for the provinces. When he returns two years later, the nursery has been destroyed. The narrator doesn’t know what happened to the dancers, but their memory haunts him \u00ab\u00a0comme une blessure\u00a0\u00bb (\u2018like a wound\u2019).<\/p>\n\n\n\n
A deep sense of nostalgia for the 18th century runs through the novel. There are several clear references to it.<\/p>\n\n\n\n
The place<\/h2>\n\n\n
\n![\"Luxembourg](\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/05\/jardinLux.jpg\")
Luxembourg palace and gardens in 1752.<\/figcaption><\/figure>\n<\/div>\n\n\n Maupassant didn’t chose some random place. The jardin du Luxembourg<\/a> has been a popular place for walks since the 18th century. The author specifically chooses a part of the park that has disappeared, reinforcing the feeling of lost happiness and melancholy.<\/p>\n\n\n\n
\n
\u00ab (\u2026) dans la p\u00e9pini\u00e8re du Luxembourg. Vous ne l’avez pas connue, vous autres, cette p\u00e9pini\u00e8re ? C’\u00e9tait comme un jardin oubli\u00e9 de l’autre si\u00e8cle, un jardin joli comme un doux sourire de vieille. \u00bb<\/p>\n\n\n\n
” (…) in the nursery of Luxembourg. Didn’t you know this nursery? It was like a forgotten garden from the other century, a garden as pretty as an old woman’s sweet smile”<\/p>\nMaupassant, Menuet<\/em>, 1882.<\/cite><\/blockquote>\n\n\n\n
Marir de Medici acquired the Luxembourg Palace in 1612. Just opposite is the Carthusian monastery, with its plant nursery, which has been in operation since 1650. Parisian walkers particularly appreciate this large green space.<\/p>\n\n\n\n
The park was remodelled several times, gradually reducing the size of the gardens. In 1865, Haussman deletes the nursery: new streets were laid out and the land subdivided.<\/p>\n\n\n\n
The date 1865 <\/strong>is important for dating the events in Menuet<\/em>. Indeed:<\/p>\n\n\n\n
\n
\u00ab Quand je revins \u00e0 Paris, deux ans plus tard, on avait d\u00e9truit la p\u00e9pini\u00e8re. \u00bb<\/p>\n\n\n\n
\u2018When I returned to Paris, two years later, the nursery had been destroyed.\u2019<\/p>\nMaupassant, Menuet<\/em>, 1882.<\/cite><\/blockquote>\n\n\n\n
Jean Bridelle therefore met the dancers between 1863 and 1865. Keep this date in mind for what follows.<\/p>\n\n\n\n
The old man dancing minuet<\/h2>\n\n\n\n
The ols man is wearing clothes reminiscent of Ancien Regime. See:<\/p>\n\n\n\n
\n
\u00ab Il portait des souliers \u00e0 boucles d’argent, une culotte \u00e0 pont, une redingote tabac d’Espagne, une dentelle en guise de cravate et un invraisemblable chapeau gris \u00e0 grands bords et \u00e0 grands poils, qui faisait penser au d\u00e9luge. Il \u00e9tait maigre, fort maigre, anguleux, grima\u00e7ant et souriant. Ses yeux vifs palpitaient, s’agitaient sous un mouvement continu des paupi\u00e8res ; et il avait toujours \u00e0 la main une superbe canne \u00e0 pommeau d’or qui devait \u00eatre pour lui quelque souvenir magnifique. \u00bb<\/p>\n\n\n\n
“He wore shoes with silver buckles, bridge breeches, a Spanish tobacco frock coat, lace for a tie and an improbable grey hat with a big brim and big hair, reminiscent of the Flood. He was thin, very thin, angular, scowling and smiling. His lively eyes fluttered and fluttered with the continuous movement of his eyelids, and he always carried in his hand a superb cane with a golden knob, which must have been some magnificent souvenir for him.”<\/p>\nMaupassant, Menuet<\/em>, 1882.<\/cite><\/blockquote>\n\n\n\n
From the buckeld shoes to the yellow <\/a>frock coat, from the breeches to the tie, everything reminds us the gentlement from 18th century. See this engraving as example:<\/p>\n\n\n
\n![\""Le](\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/05\/maitreadanser1794.png\")
“Le Maitre de Danse Braban\u00e7on faisant repeter au Petit Cond\u00e9 le Pas d’Allemande”, gravure de 1794. Collection de la New York Public Library<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n The minuet<\/h2>\n\n\n\n
\n\n\n
\u00ab Et voil\u00e0 qu’un matin, comme il se croyait bien seul, il se mit \u00e0 faire des mouvements singuliers : quelques petits bonds d’abord, puis une r\u00e9v\u00e9rence ; puis il battit, de sa jambe gr\u00eale, un entrechat encore alerte, puis il commen\u00e7a \u00e0 pivoter galamment, sautillant, se tr\u00e9moussant d’une fa\u00e7on dr\u00f4le, souriant comme devant un public, faisant des gr\u00e2ces, arrondissant les bras, tortillant son pauvre corps de marionnette, adressant dans le vide de l\u00e9gers saluts attendrissants et ridicules. Il dansait ! <\/p>\n\n\n\n
(…)<\/p>\n\n\n\n
\u00ab – Expliquez-moi donc, dis-je au vieux danseur, ce que c’\u00e9tait que le menuet ?<\/p>\n\n\n\n
Il tressaillit.<\/p>\n\n\n\n
– Le menuet, Monsieur, c’est la reine des danses, et la danse des Reines, entendez-vous ? Depuis qu’il n’y a plus de Rois, il n’y a plus de menuet. \u00bb<\/p>\n\n\n\n
(\u2026)<\/p>\n\n\n\n
\u00ab Ils allaient et venaient avec des simagr\u00e9es enfantines, se souriaient, se balan\u00e7aient, s’inclinaient, sautillaient pareils \u00e0 deux vieilles poup\u00e9es qu’aurait fait danser une m\u00e9canique ancienne, un peu bris\u00e9e, construite jadis par un ouvrier fort habile, suivant la mani\u00e8re de son temps. \u00bb<\/p>\n<\/blockquote>\n<\/div>\n\n\n\n
\n\n
\u2018And then one morning, just as he thought he was alone, he began to make some strange movements: first a few little leaps, then a curtsy; then he beat a still alert entrechat with his spindly leg, then he began to pivot gallantly, hopping, shimmying in a funny way, smiling as if in front of an audience, doing some graces, rounding his arms, twisting his poor puppet’s body, waving lightly, touchingly and ridiculously, into the void. He was dancing!<\/p>\n\n\n\n
(\u2026)<\/p>\n\n\n\n
Explain to me,\u2019 I said to the old dancer, \u2019what was the minuet?<\/p>\n\n\n\n
He shuddered.<\/p>\n\n\n\n
– The minuet, sir, is the queen of dances, and the dance of queens, do you understand? Since there are no more kings, there is no more minuet.<\/p>\n\n\n\n
(\u2026)<\/p>\n\n\n\n
\u2018They came and went with childish pretences, smiling at each other, swaying, bowing, hopping about like two old dolls made to dance by an old mechanism, a little broken, once built by a very skilful workman, according to the manner of his time.<\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n\n\n\n
\n
Maupassant, Menuet<\/em>, 1882.<\/p>\n<\/blockquote>\n\n\n\n
Maupassant doesn’t give an exact depiction of a minuet. We can understand him: the minuet was forgotten for a long time.<\/p>\n\n\n\n
Anyway, the writer tries to speak about this \u00ab sentiment de d\u00e9senchantement dont nous sommes longtemps \u00e0 nous d\u00e9barrasser \u00bb (a feeling of disenchantment that we are long in the process of ridding of). <\/p>\n\n\n\n
His aim is not to revive the previous century.<\/p>\n\n\n\n
But I can give you a few things. All this in collaboration with Pierre Rameau<\/a>, author of \u2018Le ma\u00eetre \u00e0 danser\u2019, in 1725.<\/p>\n\n\n\n
The minuet is a couple’s dance, very much in vogue in the 18th century. There is only one step to this ternary music, which unfolds over 6 beats. The dancers perform several figures, the most characteristic of which is the \u2018Z\u2019 (formerly the \u2018S\u2019).<\/p>\n\n\n
\n![\"William](\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/05\/a-long-minuet-as-danced-at-bath-longa-tysonum-minuit-fd8d04.jpg\")
William Dickinson, “Long minuet as danced in Bath (…)”, 1787. From New York Public Library<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n Minuet step<\/h3>\n\n\n\n
Starting on the left leg, the right foot pointed backward. <\/p>\n\n\n\n
Beat 1<\/strong> : Bend the left leg and bring the right heel next to the left heel.<\/p>\n\n\n\n
Beat 2<\/strong> : Extend the right leg straight forward and switch bodyweight on the right leg.<\/p>\n\n\n\n
[Beats 1 and 2 form a demi-coup\u00e9]<\/p>\n\n\n\n
Beat 3 & 4<\/strong> : Demi-coup\u00e9 bending the right leg.<\/p>\n\n\n\n
Beat 5 & 6<\/strong> : Two walking steps on the point of the feet, right then left.<\/p>\n\n\n\n
Remark <\/em>: the minuet step always starts on the right foot. It can be danced forward, backward and on the sides.<\/p>\n\n\n\n
Style & figures for minuet<\/h3>\n\n\n\n
As for all baroque dances, the dancer need to turn out their feet : heels close to one other and spread toes. The feet are forming a “V” shape at all time.<\/p>\n\n\n\n
Be careful if you try self-taught turnout: <\/strong>make sure that the movement starts from your hip. If you try to open only your feet, you risk damaging your tendons.<\/p>\n\n\n\n
The most characteristic figure is the \u2018Z\u2019. It can be described as follows.<\/p>\n\n\n\n
The dancers stand diagonally opposite and to the left of each other. Each dancer takes two minuet steps to the left, reversing the diagonal: your partner is now on your right. On the next two steps, the dancers move towards each other and pass each other facing each other. Then each dancer takes a step backwards towards their partner’s starting place and a step to the right to join that place.<\/p>\n\n\n\n
It’s a little clearer with Rameau’s diagram:<\/p>\n\n\n
\n![\"minuet](\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/05\/Menuet_Z-664x1024.jpg\")
Pierre Rameau, Le Ma\u00eetre \u00e0 danser (…)<\/em>, Jean Villette, Paris, 1725, p.87.<\/figcaption><\/figure>\n<\/div>\n\n\n The others figures are some reverences, hand-turns and a figure that looks like a snail.<\/p>\n\n\n\n
Maupassant is right when he writes that “Since there are no more kings, there is no more minuet.”. After the Revolution of 1789, the minuet indeed disapeared in France after the Revolution of 1789.<\/p>\n\n\n\n
The story of the minuet dancers<\/h2>\n\n\n\n
The most unusuel part of the story is the story of the couple. Incidentally Maupassant give it more details. See:<\/p>\n\n\n\n
\n\n\n
\u00ab Il avait \u00e9t\u00e9 ma\u00eetre de danse \u00e0 l’Op\u00e9ra, du temps du roi Louis XV. Sa belle canne \u00e9tait un cadeau du comte de Clermont. Et, quand on lui parlait de danse, il ne s’arr\u00eatait plus de bavarder.<\/p>\n\n\n\n
Or, voil\u00e0 qu’un jour il me confia :<\/p>\n\n\n\n
– J’ai \u00e9pous\u00e9 la Castris, Monsieur. Je vous pr\u00e9senterai si vous voulez, mais elle ne vient ici que sur le tant\u00f4t. Ce jardin, voyez-vous, c’est notre plaisir et notre vie. C’est tout ce qui nous reste d’autrefois. Il nous semble que nous ne pourrions plus exister si nous ne l’avions point. Cela est vieux et distingu\u00e9, n’est-ce pas ? Je crois y respirer un air qui n’a point chang\u00e9 depuis ma jeunesse. Ma femme et moi, nous y passons toutes nos apr\u00e8s-midi. Mais, moi, j’y viens d\u00e8s le matin, car je me l\u00e8ve de bonne heure.<\/p>\n\n\n\n
D\u00e8s que j’eus fini de d\u00e9jeuner, je retournai au Luxembourg, et bient\u00f4t j’aper\u00e7us mon ami qui donnait le bras avec c\u00e9r\u00e9monie \u00e0 une toute vieille femme v\u00eatue de noir, et \u00e0 qui je fus pr\u00e9sent\u00e9. C’\u00e9tait la Castris, la grande danseuse aim\u00e9e des princes, aim\u00e9e du roi, aim\u00e9e de tout ce si\u00e8cle galant qui semble avoir laiss\u00e9 dans le monde une odeur d’amour. \u00bb<\/p>\n<\/blockquote>\n<\/div>\n\n\n\n
\n\n
“He had been a dancing master at the Opera in the time of King Louis XV. His beautiful cane was a gift from the Count of Clermont. And when people talked to him about dancing, he couldn’t stop chattering.<\/p>\n\n\n\n
Then one day he confided in me:<\/p>\n\n\n\n
– I married the Castris, Sir. I’ll introduce you if you like, but she only comes here on Sundays. You see, this garden is our pleasure and our life. It’s all we have left of the old days. It seems to us that we could no longer exist if we didn’t have it. It’s old and distinguished, isn’t it? I think I breathe air that hasn’t changed since I was young. My wife and I spend every afternoon there. But I come in the morning, because I get up early.<\/p>\n\n\n\n
As soon as I had finished lunch, I went back to the Luxembourg, and soon I saw my friend ceremoniously giving his arm to a very old woman dressed in black, to whom I was introduced. It was Castris, the great dancer loved by princes, loved by the king, loved by the whole gallant century, which seems to have left a scent of love in the world.”<\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n\n\n\n
Maupassant, Menuet<\/em>, 1882.<\/p>\n\n\n\n
Identifying the dancers<\/h2>\n\n\n\n
La Castris<\/h3>\n\n\n\n
Elise Castris, La Castris, is the old dancer’s wife, “loved by princes, loved by the king”.<\/p>\n\n\n\n
Reading the story, that name ringed a bell. Yes, of course!<\/p>\n\n\n\n
During a few year I took part in a work<\/a>s<\/a>hop<\/a> in the studios of Koninkelijke Balletschool Antwerpen<\/em> (Antwerp Royal Ballet School). I remembered vividly that one studio was named after that famous 18th dancer: Castris.<\/p>\n\n\n\n
So I began my research confidently.<\/p>\n\n\n\n
No result.<\/p>\n\n\n\n
Nothing, rien, nada<\/em>, no mention of Elisa Castris anywhere outside Maupassant’s short story. Very frustrating, knowing that I am sure about the studio name.<\/p>\n\n\n\n
I desperately checked the studio name: Vestris. And Vestris is a man! What a stupid mistake…<\/p>\n\n\n
\n![\"Les](\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/05\/studios.png\")
The studios of Antwerp Royal Ballet School<\/figcaption><\/figure>\n<\/div>\n\n\n Unless… the studio next door is called Camargo?<\/p>\n\n\n\n
A crazy theory materialised in my mind, but it could make sens.<\/p>\n\n\n\n
\n
Ca<\/strong>margo + Vestris<\/strong> = Castris ?<\/strong><\/p>\n<\/blockquote>\n\n\n\n
Would Maupassant have shaped the name of his character based on two actual dancers?<\/p>\n\n\n\n
Note that Maupassant could have created “Vemargo”, but you’ll understand why he choose “Castris”, softer on the ear.<\/p>\n\n\n\n
Can this theory be verified?<\/p>\n\n\n\n
Camargo<\/h3>\n\n\n\n
The line de Cupis de Carmargo<\/strong> is well-known in the fields of music and dance in the 18th century. This family from Brabant counts several composers, dance masters and musicians.<\/p>\n\n\n\n
But in the field of dance, we have to speak about Marie-Anne.<\/p>\n\n\n
\n![\"Nicolas](\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/05\/CamargoLancret-1024x833.jpg\")
Nicolas Lancret, La Camargo dancing<\/em>, 1730-1731.<\/figcaption><\/figure>\n<\/div>\n\n\n Marie-Anne de Cupis de Camargo<\/strong> (1710-1770) revolutionised ballet and made headlines at the same time.<\/p>\n\n\n\n
She made up for her lack of grace and beauty with great technical skill. An \u2018elevation\u2019 dancer, she excelled in jumps, battements and entrechats. Voltaire called her \u2018the first [woman] who danced like a man\u2019.<\/p>\n\n\n\n
La Camargo also became famous for her short skirts. Well, \u2018short\u2019: they revealed her ankles, then her calves. Mainly to make her jumps easier.<\/p>\n\n\n\n
In May 1728, she took the Count of Clermont as her lover. She even gave up the stage for him for seven years (1734-1741). Louis de Bourbon-Cond\u00e9, comte-abb\u00e9 de Clermont (1737-1771) was a libertine ecclesiastic. <\/p>\n\n\n\n
This is of interest to us because the Comte de Clermont is mentioned in Menuet<\/em>. Indeed, the old dancer’s beautiful cane is \u2018a gift from the Comte de Clermont\u2019.<\/p>\n\n\n\n
Vestris<\/h3>\n\n\n\n
Now, let’s speak about the second inspiration of the name Castris. Vestris is the name of two famous dancers: Ga\u00ebtan and Auguste.<\/p>\n\n\n\n
The Vestris family comes from North Italy. In the 18th century they crossed the Alps and produced two generations of exceptional dancers.<\/p>\n\n\n
\n![\"Thomas](\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/05\/Thomas_Gainsborough_-_Ga\u00ebtan_Vestris1781.jpg\")
Thomas Gainsborough, Portrait of Auguste Vestris, 1781.<\/figcaption><\/figure>\n<\/div>\n\n\n The first is Ga\u00ebtan (Ga\u00e9tano, 1729-1808). Nicknamed “the god of dance”, his outstanding talent allowed him to became Louis XVI’s dance master. However, his pretentious and haughty nature earned him several dismissals from the Acad\u00e9mie de musique.<\/p>\n\n\n\n
Despite this, he was ballet master at the Paris Op\u00e9ra in the final years of Louis XV’s reign (1770-1775). And that is particularly interesting. The old dancer in the novel was \u2018dance master at the Opera during the reign of King Louis XV\u2019.<\/p>\n\n\n\n
Ga\u00ebtan Vestris had a string of female conquests. It was a dancer, Mademoiselle Allard, who gave him his most famous son: Auguste Allard.<\/p>\n\n\n\n
Ga\u00ebtan trained his natural son Auguste (1760-1842). This young prodigy toured the courts of Europe. Father and son were veritable super-stars, acclaimed wherever they performed. They shared the same talent and the same vain, capricious character.<\/p>\n\n\n\n
Choreographer Gardel, lured by Auguste’s virtuosity, composed specially for him a danse in “Panurge dans l’\u00eele des lanternes”. This choreography will then be known as “Vestris’ gavotte”.<\/p>\n\n\n
\n![\"Thomas](\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/05\/800px-Thomas_Gainsborough_-_Auguste_Vestris1781-1782.jpg\")
Thomas Gainsborough, Portrait of Auguste Vestris, 1781-1782.<\/figcaption><\/figure>\n<\/div>\n\n\n A story of dates<\/h3>\n\n\n\n
Do you remember, when I asked you to remember the date where the short story occured?<\/p>\n\n\n\n
Yes, this was many lines ago: 1863-1865. We use this date now.<\/p>\n\n\n\n
You’ve noticed that the dancers that inspired the character of Castris are dead for a long while in 1863. Marie-Anne de Camargo died in 1770; Ga\u00ebtan Vestris in 1808 and Auguste in 1842.<\/p>\n\n\n\n
So my hypothesis may be incorrect. How could the hero meet those dancers in 1863?<\/p>\n\n\n\n
The short story also mentions two historical figures. First, the dancer got his cane from count of Clermont (who died in 1771). Even is the cane was a birth gift, that would make the dancers 92 year in 1863.<\/p>\n\n\n\n
Maupassant insists: the old dancer was a dance master at the Opera, during Louis XV’s reign. Louis XV died in 1774. Even if the dance master was 20 years old in 1774, he would be minimum 109 year old in 1863.<\/p>\n\n\n\n
So, who are the old dancers? Authentic survivors of a bygone era? Or ghosts<\/strong>? Maupassant’s taste for the fantastic is well known, but he himself does not say.<\/p>\n\n\n\n
\n
\u00ab Il se peut que mon imagination seule ait fait les frais de mon attendrissement. \u00bb<\/p>\n\n\n\n
“It may be that my imagination alone has borne the brunt of my tenderness.”<\/p>\nMaupassant, Menuet<\/em>, 1882.<\/cite><\/blockquote>\n\n\n\n
Conclusion on Menuet<\/h2>\n\n\n\n
\u2018Menuet\u2019 is a typical example of the fascination with the 18th century, which was omnipresent at the end of the 19th century. This craze was reflected in literature, music, fashion\u2026 and ballroom dancing!<\/p>\n\n\n
\n![\"G.](\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/05\/desratMenuet.jpg\")
G. Desrat, Nouveau menuet de la cour<\/em>, 1880-1889. Very clear inspiration from 18th century.<\/figcaption><\/figure>\n<\/div>\n\n\n From the mid-19th century onwards, a number of authors attempted to revive the minuet. In 1860, Eug\u00e8ne Coulon published the \u2018Menuet de le cour<\/em>\u2019 (sic). His description was taken up by several others, but only vaguely resembles the Baroque minuet.<\/p>\n\n\n\n
A Quadrille minuet<\/em> with the same step was invented. Minuet <\/em>was often used as a buzzword: minuet waltz<\/em>, minuet polka<\/em>, minuet quadrille<\/em>\u2026 The minuet remains a very marginal dance, rarely danced, even by its authors’ own admission.<\/p>\n\n\n\n
In the story, the Enlightenment is reflected in the chosen location, the Luxembourg plant nursery. The old dancer’s clothes are also typical of the period. Of course, the very subject of the story – the minuet – and the characters mentioned (Louis XV, the Count of Clermont) are also direct references.<\/p>\n\n\n\n
Sources<\/h2>\n\n\n\n
https:\/\/danceinhistory.com\/tag\/marie-anne-camargo\/<\/a><\/p>\n\n\n\n