Charles Perrault

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Perrault, 12 January 1628 to 1705, was a French author and member of the Académie Française.

His creations were inspired by earlier folk tales and were published in his Histoires ou contes du temps passé.

Le Petit Chaperon Rouge (Little Red Riding Hood), Cendrillon (Cinderella), Le Chat Botté (Puss in Boots), La Belle au bois Dormant (The Sleeping Beauty), and Barbe Bleue (Bluebeard) are two of his stories.

Perrault's interpretations of old stories inspired German versions of the Brothers Grimm's German versions more than a century ago.

The stories are still being published and have been adapted to opera, ballet (such as Tchaikovsky's The Sleeping Beauty), theatre, and film.

Perrault, a prominent figure in the French Renaissance literary scene in the 17th century, was the face of the Modern faction during the Quarrel of the Ancients and the Moderns.

Life and work

Perrault was born in Paris on January 12th, the seventh child of Pierre Perrault and Paquette Le Clerc's seventh child. He attended several good colleges and studied law before deciding on a career in public service, following in the footsteps of his father and elder brother Jean.

He was involved in the founding of the Academy of Sciences as well as the restoration of the Academy of Painting. He and his brother Pierre, who had taken over the city of Paris as the city's chief tax collector, had taken over in 1654. Perrault was appointed as the Academy of Inscriptions and Belles-Lettres in 1663 and served as the finance minister to King Louis XIV under Jean Baptiste Colbert. Also appointed were Jean Chapelain, Amable de Bourzeys, and Jacques Cassagne (the King's librarian).

In April 1667, Colbert's administrative aide, Claude Perrault, was able to get his brother, Claude Perrault, appointed to a committee of three, as well as Louis Le Vau and Charles Le Brun, who supervised the new section of the Louvre, built between 1667 and 1674, to be controlled by Colbert. The style was based on Gian Lorenzo Bernini's designs (with whom, Perrault discusses in his Memoirs, the Italian artist had tumultuous relationships when he was in residence at Louis' court in 1665) and François Mansart. One of the reasons leading to this selection was fear of high costs; second, Bernini's personal antagonism against Bernini; King Louis himself maintained a public air of benevolence against Bernini, ordering the issuance of a royal bronze portrait medal in honor of the artist in 1674. The king's personal resentment at Bernini's displays of arrogance, as Perrault elaborates in his Memoirs. The king was so dissatisfied with Bernini's equestrian statue that he ordered to be destroyed that he ordered that it be destroyed; however, his lawyers persuaded him not to have it redoned instead, with a head depicting Marcus Curtius, the Roman hero.

Perrault wrote La Peinture (Painting) in 1668 to honor the king's first painter, Charles Le Brun. He also wrote Courses de tetes et de bague (1670), a book that was written to celebrate Louis's 1662 birthdays as the Duchesse de La Valliere's de Jacques.

Perrault was elected to the Académie française in 1671 at Colbert's behest.

Marie Guichon, age 19, was married in 1672; she died in 1678.

Perrault recommended that Louis XIV include thirty fountains each representing one of the fables of Aesop in Versailles's gardens. Between 1672 and 1677, the work was carried out. Water jets were designed to give the appearance of speech among the animals. Next to each fountain, there was a plaque with a caption and a quatrain written by poet Isaac de Benserade. Perrault published the guidebook for the labyrinth, Labyrinte de Versailles, which was printed in the royal press, Paris, in 1677 and illustrated by Sebastien le Clerc.

Philippe Quinault, a longtime Perrault family friend, rose to prominence as the librettist for the new musical genre known as opera, working with composer Jean-Baptiste Lully. Perrault wrote in response to Lavigne (1674), in which he lauded the merits of Alceste over the tragic name of Euripides, despite it being condemned by traditionalists who rejected it for deviating from classical theater.

This treatise on Alceste launched Quarrel of the Ancients and the Moderns (Querelle des Anciens et des Modernes), pitting supporters of the Antiquity ("Ancients") against those of the nineteenth century's literature against modern readers. He was on the side of the Moderns and wrote Le Siècle de Louis le Grand (The Century of Louis Le Grand, 1687) and Parallèle des Anciens et des Modernes (Parallel between Ancients and Moderns, 1688-1992), where he claimed to have established the literary of his day. In commemoration of Louis XIV's recuperation from a life-threatening surgery, Le Siècle de Louis le Grand was written. Perrault argued that the present age was superior in every respect to ancient times due to Louis's enlightened reign. He also said that modern French literature was superior to antiquity's works, and that, after all, even Homer nods were consulted.

Colbert coerced Perrault to retire at the age of 56, delegating his duties to his own son, Jules-Armand, marquis d'Ormoy. Colbert will die next year, and Perrault has stopped receiving the pension given to him as a writer. Colbert's bitter rival, François-Michel le Tellier, Marquis de Louvois, was assimilated by the man, who notably barred Perrault from his other positions.

Perrault, who began in 1686, went on to write epic poetry and demonstrate his sincere devotion to Christianity, writing Saint Paulin, évêque de Nôle (St. Paulinus, Bishop of Nola, referring to Paulinus of Nola). Perrault became a point of ridicule from Nicolas Boileau-Despréaux's La Pucelle, ou la France délivrée, an epic poem about Joan of Arc.

Perrault died in Paris on May 16th, 1703, at the age of 75. On December 12, 2016, Google honoured him with a doodle by artist Sophie Diao depicting characters from the Tales of Mother Goose (Histoires ou contes du temps passé).

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