Reviewed by: The Dream of Absolutism by Hall Bjørnstad Kate M. Bonin Bjørnstad, Hall The Dream of Absolutism. UP of Chicago, 2021. ISBN 978-0-226-80383-8. Pp. xii + 230. Much of the art, architecture, poetry, and prose of seventeenth-century France had a specific relationship to Louis XIV. Modern scholarship tends to judge such works as either unapologetically subservient to the Sun King—mere propaganda—or as mobilizing sly elements of satire and subversion. Through his analysis of an eclectic selection of artifacts of absolutism (which include the Hall of Mirrors of Versailles; Louis's Mémoires, written for the edification of a readership of one, the Dauphin; and an obscure 1698 fairy tale, "Sans Parangon," an allegory of Louis's life and exploits, by Jean de Préchac), Hall Bjørnstad proposes another, third way of understanding the role of these artifacts of absolutism within the context of the period in which they were produced. Absolutism, Bjørnstad argues, must be understood through contemporary concepts of "royal glory" and "royal exemplarity" (21). "Royal glory," for Bjørnstad, entails the shared "dream" or collective belief that the king participates in an invisible, superior (read: divine) power (35). This top-down ontology is underpinned, perhaps surprisingly, by a "bottom-up surge," which Bjørnstad figures as many hands collaborating (while simultaneously effacing their own role) in the "cultural production of sovereign singlehandedness" (206). For one example, secretaries (what we might today call ghost writers) aided Louis le Grand to compose his supposedly autobiographical Mémoires. On a larger scale, the fundamentally paradoxical nature of absolutism may be measured in the strange coexistence of a system of government which relied on a more centralized, rationalist bureaucracy, together with a collective belief in the "exceptional decision of an absolute will" (79). "Royal exemplarity" emerges in the 1680s, well into Louis's long reign. Bjørnstad demonstrates how early comparisons between Louis "le Grand" and others such as Alexander the Great began to fall out of fashion, as evidenced in the strange Parallèle de Louis le Grand avec les princes qui ont été surnommés grands (Claude-Charles Guyonnet de Vertron, 1685). This text evokes the conventional genre of the "parallèle," only to conclude that the incomparable Louis has no peer or parallel, resembling only himself. The Dream of Absolutism brings the reader to a number of exciting "aha" moments: most notably, in Bjørnstad's analysis of Charles Le Brun's ceiling paintings which decorate the Hall of Mirrors—while subtly incorporating mirroring within the painting itself. In the figure that represents Louis at the beginning of his personal reign, the king's face is clearly reflected in the shield of the allegorical Minerva who hovers near. It is a moment of mirroring inscribed in an image of "royal self-creation" (140): Louis, who has no example or model other than himself. For those of us who have visited the Hall of Mirrors without ever once noticing this subtle delight, there is a high-resolution iconographic catalog online at <www.galeriedesglaces-versailles.fr.>, well worth visiting. And, of course, [End Page 205] there is Bjørnstad's thought-provoking, inductive study of absolutism, which invites readers to set aside our post-Romantic aesthetic sensibilities and our post-Enlightenment political culture. This smart book will inform how I teach seventeenth-century literature and culture; I highly recommend it. [End Page 206] Kate M. Bonin Arcadia University (PA) Copyright © 2023 American Association of Teachers of French