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Good evening, and welcome to Inside Versailles. | 0:00:06 | 0:00:09 | |
Well, we have Rohan trying to kidnap the Dauphin and therefore get | 0:00:09 | 0:00:13 | |
huge power over the King in France, if you get the Dauphin. | 0:00:13 | 0:00:16 | |
Yeah, I mean, this is a real plot. | 0:00:16 | 0:00:18 | |
It's called The Latreaumont Conspiracy. | 0:00:18 | 0:00:21 | |
He had basically been friends with the King for years and then, | 0:00:21 | 0:00:24 | |
essentially, was lured to the dark side | 0:00:24 | 0:00:27 | |
and he was trying to kidnap the Dauphin | 0:00:27 | 0:00:30 | |
in order to take Normandy away from France, break away. | 0:00:30 | 0:00:33 | |
But it didn't actually get as far as the kidnapping because | 0:00:33 | 0:00:37 | |
they were overheard conspiring in a dodgy part of Paris | 0:00:37 | 0:00:39 | |
by one of the King's musketeers. | 0:00:39 | 0:00:41 | |
So for the King probably quite scary, | 0:00:41 | 0:00:44 | |
because Rohan had been his friend for many years. | 0:00:44 | 0:00:46 | |
It's so daring, to try and kidnap the Dauphin who, for many people, | 0:00:46 | 0:00:50 | |
is completely sacred. | 0:00:50 | 0:00:51 | |
So the idea of taking him and making him into | 0:00:51 | 0:00:53 | |
a mere person by imprisoning him is absolutely shocking. | 0:00:53 | 0:00:57 | |
So he was clearly someone who was at the edge of desperation. | 0:00:57 | 0:01:00 | |
Yeah, he'd been disgraced at court, | 0:01:00 | 0:01:02 | |
he'd racked up huge debts and he'd been offered this... | 0:01:02 | 0:01:04 | |
-Nothing to lose. -Nothing to lose. | 0:01:04 | 0:01:05 | |
He'd been offered this way out by Latreaumont and he's figuring, | 0:01:05 | 0:01:08 | |
"OK, I'll give it a go." | 0:01:08 | 0:01:09 | |
But unfortunately for him it doesn't work out | 0:01:09 | 0:01:11 | |
and he gets his head lopped off, so, you know, | 0:01:11 | 0:01:14 | |
you take your risks when you're going against the King. | 0:01:14 | 0:01:17 | |
This picture of Versailles I think really sums up what we're seeing | 0:01:17 | 0:01:20 | |
in the second series because now we're moving into | 0:01:20 | 0:01:22 | |
the great flowering of Versailles. | 0:01:22 | 0:01:24 | |
A lot of the building is finished, it's this huge court, | 0:01:24 | 0:01:27 | |
and we keep seeing these nobles beginning to complain | 0:01:27 | 0:01:30 | |
because they're used to living on their huge estates in | 0:01:30 | 0:01:33 | |
the countryside and now they will have to live in this palace, | 0:01:33 | 0:01:36 | |
which is beautiful, but it's cramped and small. | 0:01:36 | 0:01:38 | |
And many of the men felt they were utterly disempowered because | 0:01:38 | 0:01:41 | |
they couldn't have their huge entourages, | 0:01:41 | 0:01:44 | |
but for the women Versailles is all about manners and appearance | 0:01:44 | 0:01:48 | |
and fashion and gossip, | 0:01:48 | 0:01:49 | |
and that's somewhere where women can really get some power. | 0:01:49 | 0:01:52 | |
Absolutely, and someone who is thriving at the court at | 0:01:52 | 0:01:54 | |
this time, of course, is his maitresse-en-titre, | 0:01:54 | 0:01:57 | |
and we should probably go have a look at her painting. | 0:01:57 | 0:01:59 | |
-Let's go and have a look. -OK. | 0:01:59 | 0:02:00 | |
So, here we have Francoise-Athenais de Rochechouart, | 0:02:00 | 0:02:03 | |
de Mortemart, Marquise de Montespan. | 0:02:03 | 0:02:05 | |
-Quite a mouthful. -Quite a lady. | 0:02:05 | 0:02:07 | |
She's an absolute firecracker. | 0:02:07 | 0:02:09 | |
She's sexy, she's charismatic, she's smart... | 0:02:09 | 0:02:11 | |
And she knows how to please him. And even though she's tempestuous, | 0:02:11 | 0:02:15 | |
she demands a lot for her family and she demands a huge amount of money. | 0:02:15 | 0:02:19 | |
I think her nickname is Quanto - "how much?" - | 0:02:19 | 0:02:21 | |
because she's so focused on cash and privileges and honours. | 0:02:21 | 0:02:25 | |
But still, he adores her. | 0:02:25 | 0:02:26 | |
Yeah, she's about five years into her mistress career here | 0:02:26 | 0:02:28 | |
-in this painting, I think. -Which is quite a career. | 0:02:28 | 0:02:31 | |
-Which is good going. -She's at her prime here. -Yeah. | 0:02:31 | 0:02:33 | |
She's a magnificent woman. | 0:02:33 | 0:02:34 | |
And she's got this thing called l'esprit de Mortemart, | 0:02:34 | 0:02:36 | |
this sort of sense of joy and conversational flair. | 0:02:36 | 0:02:41 | |
It's said that even many years after her death, | 0:02:41 | 0:02:43 | |
the Duc de Saint-Simon reports that those who knew her still | 0:02:43 | 0:02:46 | |
speak in the same way that she did, they sort of carry on her language. | 0:02:46 | 0:02:50 | |
She had such an influence over how people spoke at court | 0:02:50 | 0:02:53 | |
that it sort of lives on past her. | 0:02:53 | 0:02:55 | |
And she really is kind of the focal point of what | 0:02:55 | 0:02:57 | |
everyone's talking about and looking at. | 0:02:57 | 0:02:59 | |
But after several years at court, other women are starting to... | 0:02:59 | 0:03:02 | |
You know, they're coming in, looking to see if maybe they can get | 0:03:02 | 0:03:05 | |
in the King's good favours, so she's got rivals as well now. | 0:03:05 | 0:03:08 | |
Her husband is not so keen on this whole business, is he? | 0:03:08 | 0:03:11 | |
Some husbands love it, but not hers. | 0:03:11 | 0:03:14 | |
That's the thing that perhaps is quite surprising is she's married, | 0:03:14 | 0:03:16 | |
she's got two kids by her husband, and he takes it really badly. | 0:03:16 | 0:03:20 | |
And for many at court, particularly the religious faction, | 0:03:20 | 0:03:23 | |
the devots, this is a scandal too far. | 0:03:23 | 0:03:25 | |
Because of double adultery. | 0:03:25 | 0:03:27 | |
So a King is married, she is married - | 0:03:27 | 0:03:29 | |
that's why they call it double adultery, | 0:03:29 | 0:03:31 | |
because if she were single it would be perhaps easier to talk about. | 0:03:31 | 0:03:34 | |
Absolutely, and I think we'll see a lot more of her coming up | 0:03:34 | 0:03:36 | |
through the series, so pay attention. | 0:03:36 | 0:03:39 | |
OK, join us next week, we'll be seeing a lot more of Versailles, | 0:03:39 | 0:03:41 | |
a lot more of Athenais and a lot more scandal and intrigue. | 0:03:41 | 0:03:46 | |
-Bonsoir. -Bonsoir. | 0:03:46 | 0:03:47 |