"I asked her whether, like Marguerite de Navarre
, she had their hearts embalmed and hung at her girdle.
Their topics include magical and maligned metalworkers: understanding representations of early and high medieval blacksmiths, magical gifts in Gottfried von Strassburg's Tristan und Isolde and the rejection of magic, magic at the margins: the mystification of Maugis d'Aigremont, representing magic and science in The Franklin's Tale and The Canon's Yeoman's Tale: Chaucer's exploration of connected topics, and attempted murder by magic: the sorcerer and his apprentice in Marguerite de Navarre
's HeptamAaAaAeA?ron 1.
These include Louise de Savoie (Plates 55, 100), Marguerite de Navarre
(Plate 56), Francois I (Plates 59,178,202), Queen Claude de France (Plate 68), the nobleman Girard de Vienne (Plate 168), and Anne de Pisseleu, duchess of Etampes (Plate 173).
Patricia Demers studies both highly individual and gendered responses to Psalm 51 in misereres by Anne Vaughan Lock, Mary Sidney Herbert, and Elizabeth I in her translation of Marguerite de Navarre
Veritable "creuset d'une ecriture en devenir" (Sylvain Ledda 53), la sinuosite stylistique des textes fantaisistes et drolatiques (tels que Le Succube et La Grande Breteche) se traduit dans les jeux de voix et de perspectives qui animent la narration et le cadre temporel dans Autre etude de femme et Physiologie du mariage, tout en reprenant de maniere ludique certains themes et techniques de L'Heptameron de Marguerite de Navarre
(Nicole Mozet 88, 91).
The topics include the survival of customary justice and resistant to its displacement by the new Ordines Iudiciorum as evidence by francophone literature of the high middle ages, women as victims and criminals in the Siete Partidas, wardens and jailers in 14th-century southern France, equal opportunity vengeance in the Heptameron of Marguerite de Navarre
, and some cozeners in Shakespeare's England.
In fact, Mme de Roberval's fascinating story may have had certain parallels with Marguerite de Navarre
's own aspirations for her collection of tales.
As I will demonstrate, Maupassant achieves this effect through a series of ironic references to a much older tradition of literary framing, namely the frame-narrative as developed by Boccaccio, Chaucer and Marguerite de Navarre
. Moreover, in his intertextual reworking of these medieval and Renaissance authors, Maupassant turns frame-narrative convention on its head in another way: the framing practices of these classic tale-collections tend to suggest a community of raconteurs linked metonymically to the social collectivity or nascent national group.