Salad and satire / Salade et satire

Many ingredients were necessary to make the first novel in the history of literature. First, it was a reflection of Roman life, in particular that of Emperor Nero and his entourage. The author Petronius, being the authority in terms of taste (arbiter elegantiae), represented a great variety of situations, be they erotic, adventurous, humorous, poetic or topical. Then, the style had to be ad hoc : a direct formal image of its content, manner appropriating matter it was based upon. Hence, the title, Satyricon, a word coming from the culinary world. Satyra means indeed salad, melange or mixture in Latin. The (unachieved) novel is a succession of narrative, poetic, descriptive passages where odes, criticisms and essays are jumbled up in the diegetic space in a very unusual and remarkable (for its time) way. Two slaves (Encolpius and Ascyltus) and their favourite mignon, called Giton are the main characters : we follow their picaresque whereabouts. The best-known episode of this lewd and scandalous work is "Trimalchio's feast". The whole book can be encapsulated in this moment : like it, it is a feast of words and genres. Trimalchio, this emancipated and now wealthy slave, takes on the aura of a Greek hero (scenes from epics such as The Iliad are on the villa's walls) by organizing an extravagant and excessive banquet in which Petronius gives us a magnificent piece of prose, a superb tapestry of words : a purple patch par excellence.

Bien des ingrédients ont été nécessaires pour fabriquer le premier roman de l'histoire de la littérature. Tout d'abord, il fut un reflet de la vie romaine, en particulier celle de l'empereur Néron et de son entourage. L'auteur, Pétrone, étant l'autorité en termes de goût (arbiter elegantiae) représenta une grande variété de situations, qu'elles fussent érotiques, aventureuses, poétiques ou sociales. Puis, le style se devait d'être ad hoc ; une image formelle directe du contenu : la forme s'appropriant le fond en quelque sorte. De là le titre, Le Satyricon, mot provenant du monde culinaire. Satyra signifie en effet salade, mélange ou mixture en latin. Ce roman (inachevé) est une succession de passages narratifs, poétiques, descriptifs où les odes, les passages critiques et les essais se disputent l'espace de la diégèse de facon très inhabituelle et remarquable pour son époque. Deux esclaves, Encolpe et Ascylte, ainsi que leur mignon Giton, sont les personnages principaux : nous suivons leurs allées et venues picaresques. L'épisode le plus fameux de cette oeuvre licencieuse et scandaleuse en est le festin de Trimalcion, l'affranchi devenu riche qui organise un banquet somptueux, extravagant et excessif. Le livre est un festin de mots et de genres différents, à l'image de ce repas dont le maître se réclame des heros grecs (des scènes de L'Iliade sont représentées sur les murs de sa villa). Pétrone nous offre là un superbe échantillon de prose, un magnifique creuset de mots : un morceau de bravoure par excellence.

The obsession with the Templars / L'obsession des Templiers

First, a quick comparison between the two languages : the preposition "with" indicates that the Knights Templar are the object of someone's obsession whereas in French there is ambiguity. Indeed, the preposition "de" (to which is added the article "les") either makes the Templars the subject or the object of the obsession. Therefore, the title either means "the obsession with the Templars" or "the Templars' obsession" (objective or subjective genitive).
To start with, the Templars' obsessions were the identity of Christ and the keeping of the treasure supposedly found under Solomon's temple in Jerusalem. Hence their amazing wealth and the mystery surrounding their Pope-protected order. It was founded in order to protect the Holy City : their status was intriguing as they were both monks and soldiers. Even after the dissolution of their order, a secret society emerged, with Grand Masters, with rites of passage and traditions that paved the way for the Free-Masons.
Now, the fascination for the Knights Templar is reaching new heights : a long declension of films, documentaries, books (essays and novels) and television dramas can be set up. National Treasure, the inevitable Da Vinci Code and the current French series The Cursed Kings are the most obvious. This superproduction is drawn from the seven-volume novel written in the 1950's by the traditionalist French Academicien Maurice Druon about the history of the Capetian Kings as from Philip IV the Fair in the fourteenth century. Modern warfare pushed him to require more money : he asked the Knights Templar, who refused ; they were subsequently arrested, charged with heresy and a decade later their Grand Master, Jacques de Molay, burning at the stake, uttered the eponymous omen : "Cursed, you are all cursed, for thirteen generations!" ("Maudits, vous etes tous maudits, jusqu'a la treizieme generation!"). A prophecy which, when looking at the genealogy and the fates of the Capetians, rings true.