Le Grand Balet de la Reyne, dance au Louvre le 5 mars de l'an 1623 -- Les Festes de Ivnon la Nopciere (Boisrobert, Paris 1623)

Dance manual/reference by Paris 1623 (BNF Gallica attributed imprint). Francois Le Metel de Boisrobert (1592-1662; future Academie Francaise founding member 1634, Cardinal de Richelieu's confidential secretary). BNF Gallica scan (attributed imprint, Paris 1623). Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1623-Boisrobert-Grand_(BNF).txt (121 lines OCR). CONTENT: livret + recit-verses of *Le Grand Balet de la Reyne, dance au Louvre le 5 mars de l'an 1623* (Queen Anne d'Autriche, then 22, consort of Louis XIII; Marie de Medicis-regency-era court-ballet). ARGUMENT: 'Les Festes de Ivnon la Nopciere' -- The Festivals of Juno the Nuptial, commemorated by three musiques + three ballets + diverse entrees mirroring the three ancient Juno-festivals celebrated by the Anciens: (a) Festes de Samos (the Samian Heraia); (b) Lupercales (the Roman Lupercalia, at which Junon's priests beat women with thongs to guarantee fertility); (c) Festes d'Elis (the Elean Heraia, celebrating Junon's temple at Olympia). Iris the rainbow-goddess acts as messenger between the ballets, searching for Junon ('la voicy, ie la voy, c'est elle, marchons a sa quette'). STRUCTURE: (I) Premiere Entree with the wedding-procession of the nuptial-pair, Hymen separating the two bridal parties to their appointed places; (II) Ballet des Lupercales with husbands-beating-wives-with-thongs in ceremony to guarantee lineage (the classical-fertility-ballet); (III) Mesme Grand Ballet -- the Grand Ballet finale with Junon recitative 'Ie ne suis plus celle Ivnon / Pleine de gloire et de renom' yielding the Royal-throne precedence to the two great Princesses (implicitly Anne d'Autriche the Queen and Madame-the-Queen-Mother Marie de Medicis) in Majesty and Beauty; (IV) Sonnet 'Representant Ivnon' by the Queen ('Grand Roy, l'honneur du monde et l'effroy de la guerre, Ie suis vostre Ivnon qu'on adore en tous lieux') addressed to Louis XIII. VERSES also include Madame-representing-Iris for the Queen-her-mother ('Qu'on ne s'efmerveille pas / De la voir tenante moy'), confirming the twin Mother-Daughter Queen-role allegorical architecture. HISTORIC SIGNIFICANCE: (1) MARIE-DE-MEDICIS REGENCY-ERA cross-generational ballet -- the Queen-Mother (Marie de Medicis) and the young Queen (Anne d'Autriche) share the Junon/Iris allegorical division, capturing the 1623 political transition moment (Louis XIII age 21, growing past his mother's regency; Cardinal de Richelieu would enter the Conseil du Roi in April 1624); (2) ANTIQUE-TRIPLE-FEST structural-model -- the three Juno-festivals (Samos / Lupercales / Elis) form a classical-humanist three-ballet arc, paralleling the Louis-XIV era Ballet-Royal-ballet-matin-ballet-soir tripartite-genre convention developed under Lully-Benserade (1653-1681); (3) BOISROBERT DEBUT as court-ballet-librettist -- 11 years before his founding role at the Academie Francaise (1634). His later career as Richelieu's confidential secretary and the ballet-argument-writer for numerous Richelieu-commissioned ballets (Ballet de la Prosperite des armes de la France 1641, cf. Menestrier 1682 LOC-1682-MENESTRIER) is prefigured here in his 1623 maiden livret. (4) PARIS LOUVRE venue continuity -- continues the Louvre ballet-de-cour venue-pattern documented in 1610-VENDOME (same venue, this run), 1617-DURAND, 1619-GRAMONT, 1625-BORDIER-FEES, and 1625-BORDIER-GRAND (subsequent livret run). Has_Step_Detail = No: livret-only recit-verse + occasional entree-ceremonial stage-direction; no choreographic step notation (would not emerge for 77 years). Registered for corpus completeness. (1623). Imported from local collection.