Christine and Joan

One of the last written works by Christine de Pizan was the poem Ditié de Jehanne d'Arc ("The Tale of Joan of Arc"), published mere weeks after the coronation of Charles VII (17 July 1429). Two complete manuscripts of the poem have survived. This is the only work about Joan of Arc that was written in her lifetime. Christine never mentions here or anywhere the capture of Joan by the English, and it is assumed that Christine's death took place in 1430, preceding Joan's capture in May of that year.

Her opening prologue of a dozen stanzas offer us a bit of autobiography as well as her emotions about the end of the war, showing us a tremendous surge in national pride and optimism over the end of the war and the restoration of the original monarchy:

I.
I, Christine, who have wept for eleven years in a walled
abbey where I have lived ever since Charles (how strange
this is!) the King’s son–dare I say it?–fled in haste
from Paris, I who have lived enclosed there on account of
the treachery, now, for the first time, begin to laugh;

III.
In 1429 the sun began to shine again. It brings back the
good, new season which had not really been seen for a
long time–and because of that many people had lived
out their lives in sorrow; I myself am one of them. But I
no longer grieve over anything, now that I can see what I desire.

The following 49 stanzas tell us the story of the civil war, the first of which immediately credits the efforts of Joan of Arc:

XIII.
And you Charles, King of France, seventh of that noble
name, Who have been involved in such a great war before
things turned out at all well for you, now, thanks be to
God, see your honour exalted by the Maid Who has laid
low your enemies beneath your standard (and this is new!)

Joan's contribution to the war is considered a sign of divine intervention, as the young Maid of Orleans single-handedly renewed the fighting spirit of the French.

Christine concludes the poem with the understanding that not everyone sees the end of the war the same way as she:

LXI.
This poem was completed by Christine in the above
mentioned year, 1429, on the last day of July. But I
believe that some people will bc displeased by its
contents, for a person whose head is bowed and whose
eyes are heavy [can not] look at the light.

Christine's works were kept alive in small pockets of literary interest since her death. In 1949, French philosopher Simone de Beauvoir wrote that Christine's 1399 L'Épistre au Dieu d'amours ("Epistle to the God of Love") was "the first time we see a woman take up her pen in defence of her sex." The later 20th century saw increased interest in her as the first feminist writer.

We, however, will use her last work to veer off into politics of the French civil war and the appearance of Joan of Arc. See you tomorrow.

Poets and Politics

Christine de Pizan (1364 - c.1430) was considered the first professional woman of letters in Europe, first writing after the death of her husband to support her family, and then becoming so well-known for her poems and ballads that she got commissions from nobility. Her works for others were often more scholarly, such as Le Livre des trois vertus ("The Book of Three Virtues") instructing the wife of Dauphin Louis of France, Margaret of Nevers.

As the Dauphin himself was growing up, Christine dedicated three works to him, advising him on wise and effective government. One of these works, Livre du Corps de policie ("The Book of the Body Politic") described the governments of medieval Europe. In it, she criticized the Italian city-states of her birth that were run by corporations, favoring hereditary monarchies that she felt were better for the common good. Much of this book covered the king's duties as a military leader.

Perhaps it was those chapters that inspired a gift of 200 livres* to her for writing Livre des fais d'armes et de chevalerie ("The Book of Feats of Arms and of Chivalry"). In it, she explains the rationale for a "just war" and quotes classical writers on warfare. She rejected Trial by Combat, discussed proper treatment of noncombatants and prisoners of war, and claimed that only a king can start a war because the king is responsible for the welfare of his people and country. One year after producing this book, nobles were prohibited from raising armies by royal edict.

In 1413, Christine followed this work with Livre de la paix ("The Book of Peace"), her thoughts on good governance. This was a time of civil war in France, and she urged the Dauphin to seek peace, quoting writings of Abelard, St. Benedict, and Cicero.

The Dauphin's mother, Queen Isabeau, requested of Christine her collected works. In 1414, Christine presented the queen with a lavishly illustrated compendium of 30 of her writings. The illustration above is the frontispiece, with Christine presenting the work to Isabeau.

There was a long period away from court when she wrote less. It is assumed she was avoiding the stress of civil war by staying in a Dominican convent, but in 1429 she came out with another work at the end of the civil war. That was a poem, Ditié de Jehanne d'Arc ("The Tale of Joan of Arc"). I'll talk about that, and Joan, tomorrow.

*A unit of currency. Charlemagne established it as equal to 1 pound of silver.

Christine de Pizan

Although Heloise d'Argenteuil was noted for their education and intellect, her situation was not unique. Many young girls were sent to convent schools to learn, and sometimes that education led to becoming known for writing, even if they became a cloistered nun such as Hildegarde of Bingen. Plenty of parents wanted their daughters educated for the sake of their futures. One such example is Christine de Pizan.

Cristina da Pizzano was born in Venice in 1364. Her father was a physician and court astrologer in Venice, but accepted an offer to become court astrologer to Charles V of France who, when he was not fighting England in the Hundred Years War, was promoting such intellectual projects as accurate clocks and proper agricultural techniques. Christine moved to Paris in 1368, and at the age of 15 married a royal secretary, Etienne du Castel.

Their marriage produced three children. One of their daughters, Marie du Castel,  went into the Dominican convent at Poissy in 1397 as a companion to King Charles VI's much younger daughter, Marie of Valois. Christine wrote of her visit to the convent in 1400 where she saw her daughter and the princess Marie. By that time, both Christine's father and husband had died from the Plague, in 1388 and 1389 respectively.

Left to care for her children and mother alone, Christine had to fight for years in the court system to get money from her dead husband's estate. She started writing to support herself, and the love ballads she produced—the early ones were about lost love written in memory of her husband—gained the attention of people at the royal court. She gained royal patrons whose financial support made her and her family comfortable and also ensured that her reputation would be spread. Among her patrons were Louis I, duke of Orléans; the duke of Berry; Philip the Bold of Burgundy; Queen Isabella of Bavaria; and, in England, the 4th earl of Salisbury, Thomas Montagu. She accepted multiple requests from her wealthy patrons for their personal libraries, and would then publish her works separately for even more income. She is considered the first professional women of letters in Europe.

In 1402 she publicly criticized the popular and misogynistic Roman de la Rose by Jean de Meun, which satirized the conventions of courtly love and portrays women as seducers of good men. In 1405 she published Le Livre de la cité des dames ("The Book of the City of Ladies"), praising women's capabilities and virtues. It includes stories of women of political and military accomplishment, of learning and skill, and of prudence. She also talks about female saints. There are 25 extant manuscripts.

Through all of this, she was navigating some politically difficult times and choosing to express her opinions on events. I'll tell you more tomorrow.

The Romance of the Rose, Part 2

The title of this blog post is almost "literal" in the sense that the Roman de la Rose was written in two parts: one by Guillaume de Loris in the first half of the 13th century and the second by the poet Jean de Meun in the second half. Jean saw nothing wrong with taking what Guillaume had written and adding to it—in fact, adding four times the number of lines as the original—but also changing its themes to those of personal interest to him.

Jean added new allegorical figures such as Nature and Genius, and continued the conversation about the nature of Love and its affect on the narrator. More than that, however, was a cynical approach to other topics, mocking many of the people and conventions of his society.

He attacks the priesthood, monastic orders, and the papacy, considering the Church's fairly recently push to outlaw clerical marriage. He attacked the mendicant orders: they had begun to push into the universities, becoming teachers and threatening the seniority of the secular clergy. He also mocks the nobility and the pretensions of royalty in a pre-echo of the 14th century's peasant's cry of "When Adam delved and Eve span, who was then the gentleman?"

He also took the opportunity to express cynical views on women and marriage. He offered his list of women's vices and how men could avoid their traps. Although this may have been entertaining to some readers, as the work became popular it was attacked by many writers of the 14th century, such as by Jean Gerson, Christine de Pizan, and Pierre d'Ailly.

One of its aspects that may have helped its duplication and distribution is that the (second) author had a broad knowledge of current scientific and literary knowledge. He packs into the total work a lot of references to classical authors and historical events. In fact, it is a reference to a specific event that helps place the composition: the execution of Conradin by Charles of Anjou in 1268, so the poem was completed after that date and before Jean's death in 1305.

Despite the hostility it received from some quarters, it was enormously popular. Chaucer made a translation called The Romaunt of the Rose, which he mentions in his poem The Legend of Good Women, but the extant version of The Romaunt of the Rose that we have may not have been produced by Chaucer, since parts of it differ stylistically from Chaucer's other works.

Back to the hostility, however, and a contemporary of Chaucer: Christine de Pizan is considered one of the earliest feminist writers, and we should talk about her more. We'll start that conversation next time.