French Nobility - Aristocratic Codes

Aristocratic Codes

The idea of what it meant to be noble went through a radical transformation from the 16th to the 17th centuries. Through contact with the Italian Renaissance and their concept of the perfect courtier (Baldassare Castiglione), the rude warrior class was remodeled into what the 17th century would come to call l'honnête homme ('the honest or upright man'), among whose chief virtues were eloquent speech, skill at dance, refinement of manners, appreciation of the arts, intellectual curiosity, wit, a spiritual or platonic attitude in love, and the ability to write poetry. Most notable of noble values are the aristocratic obsession with "glory" (la gloire) and majesty (la grandeur) and the spectacle of power, prestige, and luxury. For example, Pierre Corneille's noble heroes have been criticised by modern readers who have seen their actions as vainglorious, criminal, or hubristic; aristocratic spectators of the period would have seen many of these same actions as representative of their noble station.

The château of Versailles, court ballets, noble portraits, triumphal arches were all representations of glory and prestige. The notion of glory (military, artistic, etc.) was seen in the context of the Roman Imperial model; it was not seen as vain or boastful, but as a moral imperative to the aristocratic classes. Nobles were required to be "generous" and "magnanimous", to perform great deeds disinterestedly (i.e. because their status demanded it – whence the expression noblesse oblige – and without expecting financial or political gain), and to master their own emotions, especially fear, jealousy, and the desire for vengeance. One's status in the world demanded appropriate externalisation (or "conspicuous consumption"). Nobles indebted themselves to build prestigious urban mansions (hôtels particuliers) and to buy clothes, paintings, silverware, dishes, and other furnishings befitting their rank. They were also required to show liberality by hosting sumptuous parties and by funding the arts.

Conversely, social parvenus who took on the external trappings of the noble classes (such as the wearing of a sword) were severely criticised, sometimes by legal action; laws on sumptuous clothing worn by bourgeois existed since the Middle Ages.

The traditional aristocratic values began to be criticised in the mid 17th century: Blaise Pascal, for example, offered a ferocious analysis of the spectacle of power and François de La Rochefoucauld posited that no human act—however generous it pretended to be—could be considered disinterested.

By relocating the French royal court to Versailles in the 1680s, Louis XIV further modified the role of the nobles. Versailles became a gilded cage: to leave spelled disaster for a noble, for all official charges and appointments were made there. Provincial nobles who refused to join the Versailles system were locked out of important positions in the military or state offices, and lacking royal subsides (and unable to keep up a noble lifestyle on seigneural taxes), these rural nobles (hobereaux) often went into debt. A strict etiquette was imposed: a word or glance from the king could make or destroy a career. At the same time, the relocation of the court to Versailles was also a brilliant political move by Louis. By distracting the nobles with court life and the daily intrigue that came with it, he neutralized a powerful threat to his authority and removed the largest obstacle to his ambition to centralize power in France.