Essay Topic:

The discussion of the peculiarities of the female qualities in “The Heptameron” by Marguerite de Navarre .

Essay Questions:

Why is Marguerite de Navarre's “The Heptameron” considered to the one of the most prominent works of the period of French Renaissance? What character of the book is the personification of faithfulness and devotion of a woman? Can Marguerite de Navarre's “The Heptameron” be called feministic?

Thesis Statement:

Marguerite de Navarre's “The Heptameron” is one of the most prominent works of the period of French Renaissance

“The Heptameron” by Marguerite de Navarre Summary Essay

 

Introduction: Marguerite de Navarre's “The Heptameron” is one of the most prominent works of the period of French Renaissance. There are ten main characters in the book, five of which are women: Madame Oisille, Parlamente, Nomerfide, Ennasuite and Longarine. Analyzing the women in this work it is necessary to say that these five female characters and their personalities are deeply reflected in the stories that they present and share with other characters every single day of the eight days of their talks. Each of the five women possesses her own believes, principles and values which are easily observed throughout the stories.

Madame Oisille’s entity is revealed primary through her story about the muleteer’s wife, which is the personification of faithfulness and devotion of a woman to her husband and to the nobility of spirit. Madame Oisille speaks of this woman as of the “one such woman who deserves not to be forgotten”[Novel I, 17]. The muleteer’s wife in Oisille’s story rejects the love of her husband’s men and “being a virtuous woman, reproved him so sharply”[II, 18]. Even being wounded hardly she does not yield, but get strength to withstand the violence. Madame’s Oisille’s belief in the woman’s virtue is very strong and her morality becomes an example for all the other ladies. By telling this story she shows kindness and hope that other women will “amend… their ways, and resolve… to live better for the time to come”[II, 21].Ennnasuite also reveals deep respect to the virtue of the woman’s nature through the story about the unsuccessful attempts of handsome and well-bred gentlemen to forcibly “invade” a noble princess, even after a promise never to disturb her. Here the princess represents Ennasuite’s main values: purity, impregnability, intelligence of women and the insignificance of good looks and external nobility in comparison with true purity of intentions. She supposes that her story “should inspire ladies with courage, considering the virtue of the young princess and the good sense of her lady of honor”[IV, 33]. Nomerfide opens her entity to the reader by telling a story about a woman that managed to her lover to avoid facing her husband due to her husband’s one-eye blindness. Nomerfide is completely delighted by the women’s adroitness and ability to escape from the most ”delicate” situations. Her understanding of what is good and bad is fuzzy. She believes that if a woman “is prompt at finding an expedient to conceal a bad deed” then she will certainly “be… more prompt and ingenious in discovering means to hinder herself from doing a good one”[VI, 39]. At the same time Nomerfide shows superficial dignity by saying that she ”would rather be flung into the river than go to bed with a Cordelier"[V, 36].

Conclusion: Generally all the female characters in “The Heptameron” put women’s qualities upper than men’s. In their stories men were the ones to act improperly and interfere women’s lives with violence and “cool chicks”. No matter what they did in their own lives these five women believed that “true virtue” is natural primarily for women and women are more often lead by good intentions. Some of the Heptameron’s women are spoilt; nevertheless they try to present themselves personally and women as a class, as better as they can, having in mind that a true woman is to be pure in her heart and body.

 

Bibliography:

Marguerite de Navarre “The Heptameron of Margaret, Queen of Navarre” translated by Walter K. Kelly/London/ 1853.