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.

The Romance of the Rose, Part 1

Let's talk about the most popular secular literary work in the Middle Ages. More manuscripts have survived of the Roman de la Rose than just about any other non-religious work. It has a few other notable aspects. One is its length: 21,782 lines! The other is that it is an unintended collaboration by two men who never met.

Guillaume de Lorris (c.1200 - c.1240) was a French scholar and poet who wrote 4,058 lines of a romantic poem called the Roman de la Rose c.1230. That is all we know about him; we would know even less if not for Jean de Meun. Jean de Meun (c.1240 - c.1305) was a Parisian writer who picked up Guillaume's work and added 17,724 lines. The only reason we know the name "Guillaume de Lorris" is that Jean de Meun names him as the man who started the poem that de Meun continued.

"Continued" should not be construed to mean "carried on in the same vein as the original." Guillaume's section takes place in a walled garden, a stereotypical locus amoenus ("pleasant place") for medieval lovers. The narrator describes a dream he had as a young man, finding the garden with carvings on the outside of the wall of women representing vices such as Cruelty, Covetousness, and Avarice.

When I the age of twenty had attained –
The age when Love controls a young man’s heart –
As I was wont, one night I went to bed
And soundly slept. But there came a dream
Which much delighted me, it was so sweet...

Inside the garden, however, he finds a different situation. A beautiful woman named Idleness introduces him to a young man named Pleasure, who in turn introduces the narrator to Love, Joy, Courtesy, and Pleasant Looks. After spending some time with them, the narrator goes for a walk, unaware that he is being stalked by Love. He comes to a pool in which he glimpses a beautiful rose. Just then, Love shoots him with five arrows— Beauty, Simplicity, Courtesy, Company, and Fair Seeming—and then demands the narrator become a servant to Love.

The narrator's goal then is to pursue the rose (which represents a lady as well as female sexuality). Reason appears and tells the narrator to abandon his quest for the rose. Friend comforts the narrator, who goes back to kiss the rose, but Jealousy builds a castle around the rose to keep the narrator away.

It doesn't seem likely that that is where Guillaume meant his poem to end, but that is all we have from him. When Jean de Meun came across it and decided to add more, he changed the tone a bit (he also might have edited the original, so we cannot be certain we know exactly what Guillaume wrote). Tomorrow I'll tell you how he changed the direction and used it to criticize more than just the act of falling in love.

When a Love Affair Goes Public

The story of Abelard and Heloise—revealed through their own writings and love letters—have intrigued people since the 12th century. They not only reveal the details of their relationship and feelings toward each other, but they also discuss and analyze love and related topics in philosophical terms.

These long letters, it is assumed, were kept by Heloise at the Abbey of the Paraclete, founded by Abelard and conceded to her when her convent was expelled from its original home by Abbot Suger. Their contemporary, the English anecdotalist Walter Map, mentions their story. It is possible that the letters were read by others during the process of delivery.

Eventually, the originals were uncovered at the Abbey of the Paraclete and someone decided they should be read more widely. The earliest manuscript collections are from the later 13th century. Some scholars think that the wounding of the Grail King in Chrétien de Troyes was influenced by Abelard's situation.

Their love story makes it into Jean de Meun's part of the Roman de la Rose ("Romance of the Rose"). Chaucer's Canterbury Tales mentions Heloise in the Wife of Bath's prologue, referring to her husband's book of "wicked wives" in which is mentioned "Heloise, that was abbess not far from Paris."

A 1616 Latin translation in Paris led to several versions in different European languages and kept their story alive into the 18th and 19th centuries where its popularity really took off. They were considered tragic lovers—rebelling against the restrictions of their time and society—who were united in death. Their remains were taken from the Abbey of the Paraclete and re-interred in the Père Lachaise Cemetery, established by Napoleon and housing many famous French citizens.

Speaking of long writings about love, the reference to Jean de Meun's "part" of the Roman de la Rose needs explanation. I'll explain that, and what the Roman was, tomorrow.