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Bonjour! And welcome to Inside Versailles. | 0:00:06 | 0:00:09 | |
Well, a pretty thrilling episode, lots of excitement. | 0:00:09 | 0:00:12 | |
And there's a new girl on the block | 0:00:12 | 0:00:14 | |
and that is the marvellous Liselotte - married to Philippe. | 0:00:14 | 0:00:19 | |
And we're joined by Dr Linda Kiernan. | 0:00:19 | 0:00:22 | |
Why choose her? She's from a very minor part of Europe. | 0:00:22 | 0:00:26 | |
Why pick her as a wife for the brother of the King of France? | 0:00:26 | 0:00:29 | |
Like all diagnostic marriages, they are played for the higher stakes. | 0:00:29 | 0:00:33 | |
And they are playing for, basically, their power position within Europe. | 0:00:33 | 0:00:37 | |
So for that reason, royal marriages are obviously never to do with | 0:00:37 | 0:00:40 | |
the matches of the two individuals concerned. | 0:00:40 | 0:00:43 | |
And, I mean, even that is reflected | 0:00:43 | 0:00:44 | |
in the fact that they are married by proxy. | 0:00:44 | 0:00:46 | |
They are already married by the time that they meet. | 0:00:46 | 0:00:49 | |
So it shows, again, that there is negotiation, | 0:00:49 | 0:00:53 | |
there are treaties involved, | 0:00:53 | 0:00:55 | |
a huge amount of paperwork rather than any affairs of the heart. | 0:00:55 | 0:00:59 | |
How does Philippe take to his new wife? | 0:00:59 | 0:01:00 | |
Because, obviously, he's slightly shocked. | 0:01:00 | 0:01:02 | |
We know he's not really into women, | 0:01:02 | 0:01:04 | |
but one of the things I've read is this first thing he says is, | 0:01:04 | 0:01:07 | |
"Do I have to sleep with that?" | 0:01:07 | 0:01:08 | |
Philippe knows what is expected of him, | 0:01:08 | 0:01:11 | |
that he is an incredibly important part of his brother's statecraft. | 0:01:11 | 0:01:16 | |
Certainly, he's not a fan of the ladies, Philippe, | 0:01:16 | 0:01:19 | |
but he is ready to do his duty as a husband, and they do get along. | 0:01:19 | 0:01:25 | |
The other challenge she's got is there is the Chevalier de Lorraine. | 0:01:25 | 0:01:28 | |
How does she react to having, you know, | 0:01:28 | 0:01:30 | |
her husband's lover hovering around? | 0:01:30 | 0:01:33 | |
She's very resilient about it. | 0:01:33 | 0:01:35 | |
She writes that she doesn't... | 0:01:35 | 0:01:37 | |
She hardly knows a single marriage or a single man who does not | 0:01:37 | 0:01:41 | |
-have someone on the side. -Oh! | 0:01:41 | 0:01:43 | |
Be it mistresses or boys. | 0:01:43 | 0:01:45 | |
So she's resigned to her a lot and to the marriage. | 0:01:45 | 0:01:49 | |
But she does console herself with the fact that so many more | 0:01:49 | 0:01:52 | |
at court are dealing with a third, maybe fourth, fifth party | 0:01:52 | 0:01:57 | |
in their marriages too. | 0:01:57 | 0:01:59 | |
So for that reason she is... | 0:01:59 | 0:02:02 | |
She's putting up with what goes with her husband, | 0:02:02 | 0:02:05 | |
what goes with Monsieur. | 0:02:05 | 0:02:06 | |
She's one of our key sources for this period of history. | 0:02:06 | 0:02:09 | |
You know, one of the people that | 0:02:09 | 0:02:10 | |
actually tells us what it was like at court, and obviously, | 0:02:10 | 0:02:13 | |
-she's incredibly funny and frank and quite rude about herself. -Mm-hm. | 0:02:13 | 0:02:18 | |
I mean, she has a cold at one point and says, | 0:02:18 | 0:02:20 | |
"I look like a shat-upon carrot," isn't it? | 0:02:20 | 0:02:23 | |
She doesn't see herself as, you know, overly attractive as such. | 0:02:23 | 0:02:28 | |
But, I mean she calls herself hideously ugly in her letters. | 0:02:28 | 0:02:30 | |
And she also asks for her portrait be sent to be sent to her | 0:02:30 | 0:02:33 | |
and she refers to the portrait in code as the | 0:02:33 | 0:02:36 | |
-Bear Cat Monkey Face portrait. -Right. -No vanity. -So she's very... | 0:02:36 | 0:02:40 | |
No vanity there whatsoever. | 0:02:40 | 0:02:42 | |
She also uses a lot of German idioms in the French language that | 0:02:42 | 0:02:46 | |
they don't really translate well, even now. | 0:02:46 | 0:02:50 | |
But she has lots of different lurid stories as well and kind of | 0:02:50 | 0:02:53 | |
more body stuff, which she talks about at one stays for Philippe, | 0:02:53 | 0:02:57 | |
that for a man who is supposedly in charge of etiquette, | 0:02:57 | 0:03:00 | |
they have a passing wind competition. | 0:03:00 | 0:03:02 | |
OTHERS LAUGH | 0:03:02 | 0:03:03 | |
And that Monsieur can make a sound like a flute as well, she mentions. | 0:03:03 | 0:03:07 | |
-An important skill. -And she's this fantastic figure. | 0:03:07 | 0:03:10 | |
So different to every other woman in court. | 0:03:10 | 0:03:13 | |
She's almost masculine in her behaviour, her love of exercise. | 0:03:13 | 0:03:17 | |
Was that really incredibly shocking? | 0:03:17 | 0:03:19 | |
As a young bride, her lady in waiting panicked when she found | 0:03:19 | 0:03:23 | |
that her trousseau had six shifts and six nightdresses included. | 0:03:23 | 0:03:26 | |
And she had to scramble together a wider wardrobe before the | 0:03:26 | 0:03:30 | |
French ladies in waiting found out and spread the rumours around court. | 0:03:30 | 0:03:34 | |
So in terms of fashion and beauty, | 0:03:34 | 0:03:37 | |
she's very different in that respect. | 0:03:37 | 0:03:39 | |
She doesn't really fit in in the beauty of court. | 0:03:39 | 0:03:41 | |
How did she get on with the epitome of glamour, which is Athenais? | 0:03:41 | 0:03:45 | |
-She doesn't like her. -Oh. -She calls her a desperate woman. | 0:03:45 | 0:03:48 | |
She views Montespan as being just after ambition and whatever she can | 0:03:48 | 0:03:53 | |
get out of the position itself. | 0:03:53 | 0:03:54 | |
-She's a gold digger. -She's a gold digger, so she thinks. | 0:03:54 | 0:03:57 | |
She does believe that Louise de La Valliere | 0:03:57 | 0:03:59 | |
was genuinely in love with the king, but she views Montespan | 0:03:59 | 0:04:02 | |
as a different kettle of fish. | 0:04:02 | 0:04:04 | |
How does she bear the fact that basically in terms of precedence, | 0:04:04 | 0:04:07 | |
it's the queen, the number one woman, | 0:04:07 | 0:04:09 | |
then it's the maitresse-en-titre, and then she comes third? | 0:04:09 | 0:04:12 | |
She doesn't handle it well, from her private correspondence. | 0:04:12 | 0:04:16 | |
She... It's one thing that she constantly harps on about. | 0:04:16 | 0:04:20 | |
Having to walk behind Montespan. | 0:04:20 | 0:04:22 | |
But just precedence in general, even for a woman who's very earthy, | 0:04:22 | 0:04:26 | |
who seems to have the simpler tastes in life - she likes cabbage | 0:04:26 | 0:04:30 | |
instead of chocolate, for instance. | 0:04:30 | 0:04:33 | |
She's at the top level of the royal family. | 0:04:33 | 0:04:36 | |
And, certainly, when she sees these usurpers wheedling their way | 0:04:36 | 0:04:39 | |
in amongst the lineage and in amongst the levels of precedence, | 0:04:39 | 0:04:44 | |
she doesn't like it whatsoever. | 0:04:44 | 0:04:46 | |
And how does Louis react to this German princess arriving? | 0:04:46 | 0:04:52 | |
Because, obviously, he's picked her but now she's at court. | 0:04:52 | 0:04:55 | |
Does he find it a bit, slightly disconcerting | 0:04:55 | 0:04:57 | |
or is he actually rather amused by her? | 0:04:57 | 0:04:59 | |
In her letters she's very admiring of Louis XIV. | 0:04:59 | 0:05:03 | |
She seems to have been cast under his spell. | 0:05:03 | 0:05:06 | |
She seems to have been very much part of his inner circle | 0:05:06 | 0:05:10 | |
for things like hunting. | 0:05:10 | 0:05:11 | |
The whole kind of elaborate hunting outfit that she wore out with him | 0:05:11 | 0:05:15 | |
gets her into some trouble actually | 0:05:15 | 0:05:17 | |
in one of her first hunting trips with the king. | 0:05:17 | 0:05:19 | |
Her dress gets caught underneath her on her horse. | 0:05:19 | 0:05:22 | |
As she tries to pull it out, | 0:05:22 | 0:05:23 | |
the horse bolts and it is Louis who arrives on the scene, | 0:05:23 | 0:05:28 | |
ensures that she's totally fine, checks her skull, | 0:05:28 | 0:05:31 | |
checks everything, goes back with her to the palace, | 0:05:31 | 0:05:34 | |
stays with her to make sure that she doesn't get dizzy. | 0:05:34 | 0:05:36 | |
So he seems to have been quite attentive to her. | 0:05:36 | 0:05:40 | |
Well, I think we're all fans of Liselotte | 0:05:40 | 0:05:42 | |
and I'm hoping to see a lot more of her in this series. | 0:05:42 | 0:05:44 | |
Thank you so much for coming to talk about her, she's an absolute star. | 0:05:44 | 0:05:47 | |
And thank you for joining us tonight. | 0:05:47 | 0:05:49 | |
Hopefully, you'll come back for more next week. | 0:05:49 | 0:05:51 | |
-Until then, bonsoir. -Bonsoir! | 0:05:51 | 0:05:53 |