Ballet du Temple de la Paix 1st edition, 1685

The elements that make up the Jean-Baptiste Lully's Ballet du Temple de la Paix have some parallels to the plot of Roland, which premiered in the same year. Both celebrate the expanding influence of France and Louis XIV through the introduction of exotic characters. The flexibility of the ballet de cour format, which was more a progression of loosely related scenes and spectacles than an organized plot, allowed librettist Philippe Quinault more freedom in his elaboration of that theme. 

Ballet du Temple de la Paix was first performed on 20 October 1685 at Fontainebleau as part of celebration of the peace newly established by the treaty of Regensburg (August 1684)--a twenty-year agreement by which the French kept their "reunited" territories including the Alsace cities of Saarbrücken, Luxembourg, Zweibrücken, and Strasbourg. The representation of different ethnic peoples in native costumes performing native dances (Basques from a region of the west Pyrenees; Bretons from northwest France, Africans, and "Sauvages" from America) made the ballet into an international paean to the king. The ballet progresses from idyllic shepherds and nymphs, to the citizens of France, outward to Africa and America. 

As Lully states in his dedication: "The Peace which Your Majesty has so generously give to his vanquished Enemies is the subject of this Ballet; Your praises, Sire, form the greatest part…. Could I find anything more appropriate for composing extraordinary Songs?" Unfortunately, the peace was short-lived. Five days after the premiere of Temple de la Paix, Louis revoked the Edict of Nantes and expelled Protestants from France, precipitating an internal war on heresy. Shortly thereafter (1688) followed the War of the League of Augsburg. 

Temple de la Paix was very well received, and was performed several times during the year following its premiere, including court performances at Fontainebleu and Versailles (December 1985), and public performances at the Palais Royale in Paris (November 1985). However, it then fell out of the repertory and has never been revived. The only recorded excerpt is a minuet from the ballet that appears on: Popular concert favorites and encores. Nickson Records NN-1004, 1992 (1940). Various orchestras, Dimitri Mitropoulos, conductor.

The ballet opens with Climene commanding the chorus of nymphs and shepherds to prepare for a new feast. Silvandre praises the peace newly established by the heroic king (Louis XIV). 

The First Entry, danced by the nymphs and shepherds, is accompanied by a song sung by Amintas and Menalque. 

In the Second Entry, a new set of nymphs and shepherds dance to the praises of the king sung by Silvie and Climene while their lovers, Daphnis and Silvandre (respectively), argue the virtues of faithful love: always bittersweet, says Daphnis; ever a delight, counters Silvandre. Their discussion grows to involve everyone on stage. 

The Basques are introduced in the Third Entry. Daphnis approaches Silvie and asks if he will love her as deeply as she loves him. Daphnis retorts that a tender heart can only cause pain. Silvie does not accept this and uses his argument against him saying that the chains of love are stronger than the chains of torture. Daphnis agrees and together they sing of the happiness of a tender heart where love is balanced between intellect and innocence. 

The Fourth Entry begins with the Bretons who dance to a chanson about the difficulties of uniting love and peace. Silvandre is in love with Climene and thinks that she feels the same. He is surprised when she rebuffs him and seeks to determine why. Climene accuses him of a infidelity and will have nothing more to do with him. Silvie enters to mediate and helps to soften Climene's heart. Silvandre exclaims that he would rather lose his life than to betray Climene's love. They all sing of the triumph of faithful love. 

Songs and dances of the Sauvages (American Indians and dependents of France) open the Fifth Entry. After singing that the glorious king's name reverberates throughout their nation, Licidas (who loves Amaryllis) sings of a heart troubled with love. Meanwhile, Alcippe (another shepherd) tries to tell Amaryllis of his love for her. Amaryllis, however, shuns love and its commitments and warns the competing shepherds to do likewise. The Entry concludes with the rejected lovers (Licidas and Alcippe) singing that all the good in the world is less good if Amaryllis' love is not there. 

The Final Entry brings the people of Africa fresh from their annexation into the kingdom. They bring tribute to their victors and thanks for the new peace. As they dance, all the choruses assemble on stage to sing of the glory of the victorious king who has brought peace to all the different nations.

Title from title page: BALLET / DU TEMPLE / DE LA PAIX
Genre: ballet
Siglum from Lully thematic catalog: LWV 69
Composer: Jean-Baptiste Lully, 1632-1687
Librettist: Philippe Quinault, 1635-1688
Libretto based on: Original Libretto
Premiere: Fontainebleau, court, 20 October, 1685
First published: Paris: Christophe Ballard, 1685
Volume in the UNT Lully Collection: First edition, Paris: Christophe Ballard, 1685

See the Lully bibliography for suggested reading.

Full score. Typeset. 2° in 4s. ² A-2D4. P4, 1-89, 60[i.e.90], 91-147, 143[i.e.148], 149-183, 174[i.e.184], 185-186, 1871[i.e.187], 188-216. 9-5/8 X 14-1/2 inches. 

M 1520 .L87 B3

Ballet du Temple de la Paix  (composer Jean-Baptiste Lully, librettist Philippe Quinault) was first published by Christophe Ballard in 1685, probably for the public performances that began in November of that year at the Palais Royale in Paris. There do not appear to have been any subsequent editions. The volume in the Lully Collection is a first edition. Lully's signature appears on the final page, and the Ballard mark has been blindstamped onto page 1, fulfilling the contractual obligation that both parties had to mark any volume before it could be sold.

Condition: The current binding is a contemporary full sprinkled-calf with a jointed spine probably restored in the late 18th century. The title and a floral motif appear in gilt in the panels of the spine. There is some damage to the front loose endpaper, mold, discoloration, some foxing, torn pages. 

Provenance: unknown

RISM A/I L3049