Martin Guerre, the movie, and the historical record

Facts (and some suppositions), from the historical record, about the Martin Guerre story…

• Martin's family –the Daguerres--moved from Basque country to Artigat in Languedoc (over the Pyrenees) 
• They were barely literate—Basque language complex and not generally amenable to writing; never signed contracts with family name 
• They changed Daguerre (Basque) to Guerre (to fit in) Guerres were prosperous; owned a tileworks 
• Martin was not a usual name in Artigat: it would have attracted ridicule Martin was 14 years old when he was married; i.e. he was still a boy 
• Bertrande was married to Martin at the age of 8 or 9. This was younger than usual and probably a violation of canon law. But the marriage was sanctioned by the local curate—this permissiveness can be partially be explained by the fact that Artigat was somewhat independent: it had no seigneur (lord) Artigat was prosperous and to a large extent self-governing-- more or less outside the orbit of the feudal French church and state
• Bertrande's family, the Rols, were well- to-do peasants and prominent in the region Bertrande would have stayed at home helping her mother spin wool until marriage, with little exposure to the outside world 
• The Guerres would have been eager to marry their only son up into her family. 
• The very fact of their marriage is a demonstration of the openness of Languedocans to newcomers
• Bertrande's dowry was likely the equivalent in value of a vineyard or a field
• Her failure to become pregnant would have been cause for ridicule by the townsfolk (e.g. the "charivari") 
• Martin's impotence was blamed on powerful "outside" women – as was typical--who were perhaps jealous of his good fortune of marrying well
• Bertrande was also "bewitched"—(or was she just very young and in a strange house…perhaps she was relieved that she could not have intercourse). She refused to leave Martin and have the marriage annulled, which her mother was pressuring her to do; when SHE was ready, the witch "appeared from heaven" to undo the spell… 
• Can Martin's flight be partly attributed to his being uncomfortable with the new language, his dominating father, as well as his longstanding impotence? It was typical for young peasant men to take some time for "sowing oats" –as shepherds (or in Basque country, going to sea, whaling)—Martin, married young, did not have this opportunity
• Joining the army was another option and there were plenty of chances to do that under King Francois I. 
• After the theft of his father's grain, Martin ran away and ended up a "lackey" in the Spanish court of the Catholic Cardinal of Burgos.
• Martin joined the Spanish army of Philip II; he fought against the French (this was high treason!)—and lost a leg at the 1557 Battle of San Quentin, an important Spanish victory over the French in the Franco-Valois Wars

Why did Pierre Guerre and others "turn on" the new "Martin"?

• "Martin's" practice of selling off parcels of family land, while common in Languedoc, was contrary to Basque custom
• The Village was split over Martin's identity: NZD speculates that perhaps the split was along Catholic-Protestant lines
• Some people suspected him of utilizing magic to assume another's personality and life…this must have created tremendous unease
• NZD speculates that in the traditional interdependent world of the village, relationships built on big lies were not sustainable… 

The movie deviates from record: 

• "Martin" is convicted in his first trial in Rieux, after the court hears testimony from 150 people—under threat of excommunication if they lie. Forty-five testified he was Pansette; 30-40 said he was MG –including his four sisters--and the rest (60 or so) were uncertain. 
• The trial in Toulouse was "Martin's" appeal of the guilty verdict (paid for by him) 
• Coras is convinced by "Martin" and considers torturing Pierre to see whether he will admit to conspiring to kill "Martin." 
• According to NZD, the movie portrays Bertrande as a 19th century "romantic" who acts without practical concern for her own (or her children's interest), following only her heart.
• The real Bertrrande plays a double role. She is concerned about protecting her honor (and inheritance) and hedges her bets regarding the outcome. She becomes a party to the lawsuit against him. She then tells the judge she was coerced into it by Pierre—but refused to take an oath that "Martin" was her husband. 
• NZD does not think Bertrande was a victim at all. Far from it; all indications are that she was a party to the deception: she was making independent choices about what she wanted in her life and her body She speculates that this was (at least partly) a result of the fact that there were new ideas (Protestant ideas) about...including new ideas about marriage. "It was no longer a sacrament" – an abandoned wife could divorce.
• Also, Martin and Bertrande, living as "true married people" could "tell their story to God and need not communicate it to any human intermediary" There is good reason to believe Bertrand and "Martin" were touched by the new ideas. We know that the Rols family converted to Protestantism. It is significant that NO priests from Artigat played a role in the trial.
• Unlike the public spectacle of the film, trials in 16th century France always heard testimony in secret. They were intended to be "fearsome" for the defendant not forums for grandstanding speeches. They were also apt to torture the accused to get them to confess.
• Jean de Coras was already becoming attracted to Protestantism when the trial was in progress. He was expelled from the Toulouse Parlement in 1568 for his sympathies and was among those Protestant judges who were lynched in 1572 by a Catholic mob. NZD , analyzing his book about the "Prodigious Imposter, " sees a degree of admiration in Coras' attitude about "Martin"/Arnaud du Tilh (his real name). He admires his intelligence and especially his "self-fashioning" behavior.
• There were other minor deviations from the record in the film--for cinematic and financial considerations (e.g. color of judges gowns)

Thomas More in Mexico

A couple of winters ago, while vacationing in Patzcuaro, a small town in Michoacan Mexico, I took this photo of a magnificent and intriguing mural in the town library. It was painted in 1942 by Juan O'Gorman and depicts some of the town's history and mythology regarding the conquistadores.

The priest in the center is a local hero, Father Vasco de Quiroga, a follower of Thomas More's Utopia, as you can clearly see. I was reminded of the mural while reading Chapter 14. Why do you think Thomas More's book is so prominent in the mural?

You can find a fascinating description of the mural on the web (follow the link), including an explanation of the mural's evident ambivalence towards the Conquest.

http://www.mexconnect.com/articles/1243-did-you-know-the-centenary-of-the-birth-of-artist-juan-o-gorman

Here's a brief excerpt:

"From the right, the Spaniards arrive, led by the allegedly barbarically cruel Nuño Beltran de Guzmán. They attempt to destroy the Purepecha culture, but it survives in a "mummified" form. The native American princess Erendira, the first Indian woman to ride a horse, breaks the siege of Pátzcuaro and rides for help from people living in nearby settlements and on the islands. A feminine Paul Revere! But her efforts are in vain and the Purepecha are tricked into surrender.

Elsewhere, scenes suggest the good and the bad sides of the Conquest. Overlooking the Spanish Inquisition, and a bonfire of Indian idols and codices, is a surrealist figure of a grotesque hand-with-eyes, symbolizing an empty head, a brain that doesn't think, an intelligence without control, an invasion.

The good is shown by several priests who brought education and crafts. They include, in a white tunic and red cloak, the first Bishop of Michoacán, Vasco de Quiroga, who had been influenced by the Utopian ideas of Thomas More. Vasco de Quiroga introduced large fishing nets and encouraged many crafts.

Careful study of the faces of those accompanying the invading Spanish forces will reveal portraits of Mussolini and Hitler. The Conquistadores, Fascists and Nazis are all considered equals..."

Read the rest: http://www.mexconnect.com/articles/1243-did-you-know-the-centenary-of-the-birth-of-artist-juan-o-gorman

Park 51 imam speaks

September 7, 2010 Building on Faith NY Times OPED By FEISAL ABDUL RAUF AS my flight approached America last weekend, my mind circled back to the furor that has broken out over plans to build Cordoba House, a community center in Lower Manhattan.I have been away from home for two months, speaking abroad about cooperation among people from different religions. Every day, including the past two weeks spent representing my country on a State Department tour in the Middle East, I have been struck by how the controversy has riveted the attention of Americans, as well as nearly everyone I met in my travels. We have all been awed by how inflamed and emotional the issue of the proposed community center has become. The level of attention reflects the degree to which people care about the very American values under debate: recognition of the rights of others, tolerance and freedom of worship. Many people wondered why I did not speak out more, and sooner, about this project. I felt that it would not be right to comment from abroad. It would be better if I addressed these issues once I returned home to America, and after I could confer with leaders of other faiths who have been deliberating with us over this project. My life’s work has been focused on building bridges between religious groups and never has that been as important as it is now. We are proceeding with the community center, Cordoba House. More important, we are doing so with the support of the downtown community, government at all levels and leaders from across the religious spectrum, who will be our partners. I am convinced that it is the right thing to do for many reasons. Above all, the project will amplify the multifaith approach that the Cordoba Initiative has deployed in concrete ways for years. Our name, Cordoba, was inspired by the city in Spain where Muslims, Christians and Jews co-existed in the Middle Ages during a period of great cultural enrichment created by Muslims. Our initiative is intended to cultivate understanding among all religions and cultures. Read on: http://www.nytimes.com/2010/09/08/opinion/08mosque.html?_r=1&ref=opinion