Les Fees des Forests de Saint-Germain, ballet dance par sa Majeste en la salle du Louvre le XI. fevrier 1625 (Bordier / Guedron / Boesset, Paris 1625)

Dance manual/reference by Paris (avec privilege de Sa Majeste). Rene Bordier (15..-1658; principal librettist) et al. — verses by Bordier, Sorel, Rotrou, and others of the Cabinet-du-Roi circle; airs by Pierre Guedron (156.?-1620?) + Antoine Boesset (1587-1643) + Gabriel Bataille (1574-1630). Printed at Paris 1625, attributed imprint. Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1625-Bordier-Fees_1_(BNF).txt (177 lines) + 1625-Bordier-Fees_2_(BNF).txt (171 lines). BNF Gallica scan. CONTENT: the published livret of *Les Fees des Forests de Saint-Germain, ballet dance par sa Majeste en la salle du Louvre le XI. fevrier 1625* (Louis XIII and the court, 11 February 1625). STRUCTURE: five numbered ballets framed by five Fairy-personifications of Vices/Crafts — each Fairy introduced by a Recit (sung), followed by an Entree of masqued nobles playing her subjects: (I) *Les Chaconistes Espagnols* — Spanish Chaconne ballet with the Duc d'Aluyn, Bleinville, Mortemar, Roche-guyon, Duc de Nemours, the KING himself (as Mars-des-Fleurs-de-Lis playing a guitar), and the Grand Prieur, all disguised as espagnolisez; (II) Gillette-la-Hazardeuze, Fee des Joueurs (Chalez) — gamblers-and-Esprit-follet (Liancourt) suite; (III) Jacqueline-l'Entendue, Fee des Estropiez de Cervelle (Liancourt) — brain-damaged fops with sub-entrees of Demy-roux (Monsieur Frere du Roy, Duc d'Elbeuf, Grand Prieur, Commandeur de Souuray) and Fantasques (Comte de Soissons, Duc d'Aluyn, Bleinville); (IV) Alizon-la-Hargneuse, Fee des Vaillans Combattans (sieur Delfin) — combatants with wooden swords (King, Roche-guyon, Liancourt, General des Galeres); (V) Macette-la-Cabriolleuze, Fee de la Danse (sieur de Poyenne) — the Dance-Fairy herself, framing the entire court ballet as meta-choreographic allegory. Has_Step_Detail = No: livret-only recit-verse + masquer-list + occasional costume mention; no choreographic notation. HISTORIC SIGNIFICANCE: (1) FIRST EXPLICIT PARISIAN *CHACONISTES ESPAGNOLS* attestation in a court-ballet livret — 61y earlier than Lully's 1686 Armide chaconne (F0125 umbrella) and 22y earlier than the English Restoration chaconne vogue. This establishes the Spanish-origin Chaconne as already codified into Bourbon-court ballet vocabulary by early Louis XIII, predating the French stage-chaconne lineage usually dated to Lully. (2) FIVE-FAIRY THEMATIC FRAME is the direct prototype for the Estoile 1626 Douairiere-de-Billebahaut satirical-entree framework (1626-Estoile-Maistre). (3) Bordier as PRIMARY LIBRETTIST-COMPOSER — his 1617 Durand-collaboration (LOC-1617-DURAND) and 1619 Gramont-collaboration (LOC-1619-GRAMONT) and this 1625 solo-authored Fees-des-Forests complete his Louis-XIII-era ballet-libretto triptych across 8 years. Rosetta-stone value: (a) Chaconistes-Espagnols as pre-Lully French chaconne attestation; (b) Bordier stylistic continuity from 1617 Durand demon-by-vice to 1625 fairy-by-vice to 1626 douairiere-by-satire; (c) ballet-de-cour Feee-personification genealogy feeding forward into Moliere-Lully 1670-1671 comedie-ballet frames. (1625). Imported from local collection.