Subject: gentleman duellist
Setting: Belle Époque, France late 19th-early 20thc
* Holland 2003 p232-233
"After their revolution, the duel provided a perfect union of the glamourous old aristocratic past with the new world of liberté, égalité, and fraternité; butchers and bakers and enlisted men now dueled like gentlemen to their hearts' content. In 1836, the comte de Chateauvillard published his Essai sur le duel, with a complete list of insults and options, and it was promptly translated for an eager public in England and Germany. The civil upheavals of the midcentury provided fine fodder for disagreements all over Europe, with the middle classes happily joining the aristocracy on the field of honor.
"By the end of the nineteenth century, duels were the national French pastime. "Unlike the Italians, the French preferred to fight in winter and spring; perhaps then as now they all went off on vacation for the month of August. French labor leaders fought aristocrats, conservatives fought republicans. Novelists fought each other over stylistic points and other literary matters. Alexandre Dumas fought the playwright Gaillerdet over the authorship of a drama. Edouard Manet challenged, fought, and wounded an art critic who, in his review of a group show, mentioned Manet's work only once. In 1896 Marcel Proust, remembered as a reclusive invalid, fought a critic who had slammed his first book and called him 'one of those pretty little society boys who have managed to get themselves pregnant with literature.' A brace of literary critics fired four shots at each other to determine the relative merits of the classical and the romantic schools of fiction. Guy de Maupassant had an eye for the ladies the led him to various duels; he was a fine marksman, though, and walked away after all of them. (In the end he paid the piper with syphilis.)"
* Holland 2003 p234-235
"The French and the English have rarely seen eye to eye, and as dueling declined in England, the English could point smugly at their own superior civilization, compared to the barbarians across the channel who were still brandishing blades. In England in 1890, The Cornhill Magazine printed 'The Duello in France,' attributed to Arthur Conan Doyle of Sherlock Holmes fame. 'In spite of the incessant wars which make up the history of France, the record of private combat and bloodshed is an unbroken one, stretching back in a long red stream through the ages, sometimes narrow, sometimes broad, occasionally reaching such a flood as can only be ascribed to a passing fit of homicidal mania. Recent events have shown that this national tendency is still as strong as ever, and that there is every prospect that the duello, when driven from every other European country, may still find a home among a gallant people, whose solicitude for their honour makes them occasionally a trifle neglectful of their intelligence ...'"
* Venner 1986 p238 caption (describing a pair of dueling swords)
"Les duels politiques et les duels de presse furent très nombreux durant tout le XIXe siècle. Leur pratique ne cessera qu'en 1914."
* Boucher 1987 p383-384
"Without undergoing major transformations, men's costume during the Second Empire approached the forms it was to keep for the rest of the century.
"The coat à la Française was extremely simplified to give the frock-coat, while the old frock-coat, cut off at the waist, became the tail-coat for evening wear, the English evening-dress, worn with the top hat. The redingote remained a formal garment. "Under English influence a short jacket appeared towards 1850, called paletot, peel or bucksain depending on its material, and worn with striped or patterned trousers; evidently it was only an informal, indoor garment. Only at the end of the reign do we see the suit (complet) -- jacket, trousers and waistcoat in the same material -- but this ensemble was also to remain, until the last years of the century, an informal costume, only worn in the morning, in the country or for travel. "The brilliance of the regime revived interest in costume, at court as well as in town. Details distinguished the man of the world: velvet collars, longer or shorter basques, silk lapels, narrow ties or wide bows, flaring, stiff straight, or down-turned wing collars."
* Mancoff 2012 p18-19
"In Duroy's Paris [in Guy de Maupassant's novel Bel-Ami, 1885], appearance was everything. Middle-class men and women, especially those on the rise, followed a strict dress code. They expressed their knowledge of society through the garments they wore; clothing was a tangible performance of etiquette. A socially skilled man or woman knew what to wear, selecting costumes in accordance with time of day, nature of event and calibre of company. But clothing was also seen as a sign of character. Cutting an elegant figure was a delicate matter of balancing taste with flair, fashion with tradition, and individuality with conformity.
"Both during the day and in the evening, men wore a sort of uniform: coat, waistcoat and trousers. The smallest details made a difference. Exquisite tailoring indicated self-respect as well as wealth; such fine accessories as supple gloves, a silver-tipped cane and a well-brushed hat added dash, but only if chosen with restraint. A tasteful man never strayed from the nearly monochromatic palette of black and grey, whether dressing for dinner or business, or even for a stroll in the park."
* Evangelista 1995 p185-186
"After the practice of wearing swords on a daily basis had come to a close, the dueling sword came to be a special weapon specifically designed for personal combat. Its earliest form resembled that of a smallsword. By the end of the nineteenth century, however, it was much like a modern épée, possessing a stiff triangular blade, a large shell guard, and a simple grip.
"When the duelling sword was employed, its razor-sharp tip was dipped in disinfectant. "Also called an épée de combat and an épée de terrain."
* Hutton 1995 p323
"In all civilized countries the walking-sword had vanished from the side of the gentleman, but it was not forgotten. A form of it still survived in the
épée de combat, the favourite duelling weapon of the French. Stripped of the knuckle-bow and pas d'âne, its hilt retained only the shell, which in the early half of the century closely resembled both in size and in shape that of the discarded small-sword; it retained its triangular blade, and the method of using it was very little altered."
* Holland 2003 p233
"In Paris, the salles des armes were lavishly decorated like night-clubs, or perhaps like bordellos, and their fencing masters swaggered around putting on airs. In 1900 a member of the Assembly did shoot and kill a municipal counselor in a pistol duel, but in general France still preferred the elegant épée to the plebian gun, for maximum grace and flair with minimum bloodshed. Carefully wielded, it did very little damage, and its flourishments looked more like ballet than battle and lasted longer, providing more fun for the spectators, whose opinion was growing important. In one Parisian duel in 1904, two rival fencing masters fought each other for three hours without shedding blood. The reporters loved it.
"At the end of the nineteenth century, the American satirist Ambrose Bierce defined the French duel as 'A formal ceremony preliminary to the reconciliation of two enemies. Great skill is necessary to its satisfactory observance; if akwardly performed the most unexpected and deplorable consequences sometimes ensue. A long time ago a man lost his life in a duel."