1668:
324:
565:, both recount tales of the same peasant woman successfully carrying out an affair despite her husband having caught her with her lover both times. In the first fable, the peasant woman convinces her husband that her lover was merely a trick of the eye and in the second, persuades her husband that he has had a vision of her and a man, foreshadowing her death. Marie lauds the woman for her crafty ways and faults the peasant husband with idiocy. The morality, or lack thereof, in these two female-centered fables is interesting and takes root in the tradition of "wife tricking her husband" stories, such as
49:
469:
narrative poems written in eight-syllable verse that were based on Breton or Celtic legends, which were part of the oral literature of the
Bretons. The lais of Marie de France had a huge impact on the literary world. They were considered a new type of literary technique derived from classical rhetoric and imbued with such detail that they became a new form of art. Marie may have filled her detailed poems with imagery so that her audience would easily remember them. Her lais range in length from 118 (
1951:
663:, where the husband, who keeps a close watch on his wife when he is present, has her watched equally closely when he is away from home." Perhaps it reflects some experience within her own life. The willingness to endorse such thoughts as adultery in the 12th century is perhaps remarkable. "It certainly reminds us that people in the Middle Ages were aware of social injustices and did not just accept oppressive conditions as inevitable by the will of God."
1635:
553:, also known as Fable 2 in Marie’s collection, follows a well-known and established storyline. Just as in Aesop’s original fable, Marie de France’s translation describes a lamb and a wolf drinking from the same stream, the wolf unjustly condemning the lamb to death for drinking inoffensively downstream from him. Marie de France repeats the established moral at the end, "But these are things rich nobles do…destroy folk with false evidence".
1687:
431:. But Anglo-Norman influence may be due to her living in England during her adult life, which is also suggested by the fact that so many of her texts were found in England. The signification of the phrase "si sui de France", however, is ambiguous and equivocal. Marie might possibly not have stated that she was from France if she was originally from a region governed by Henry II such as Brittany, Normandy,
225:
545:
works of the past for future peoples. Here, in the prologue, she is referencing the duty of scholars to preserve moral philosophy and proverbs. The rest of Marie de France’s prologue outlines how Aesop took up this duty for his society and how she must now preserve his fables and others for her present culture.
679:
Her stories exhibit a form of lyrical poetry that influenced the way that narrative poetry was subsequently composed, adding another dimension to the narration through her prologues and the epilogues, for example. She also developed three parts to a narrative lai: aventure (the ancient Breton deed or
540:
Along with her lais, Marie de France also published a large collection of fables. Many of the fables she wrote were translations of Aesop’s fables into
English and others can be traced to more regional sources, fables to which Marie would have been exposed at a young age. Among her 102 fables, there
639:
Marie de France's lais not only portray a gloomy outlook on love but also defied the traditions of love within the church at the time. She wrote about adulterous affairs, women of high stature who seduce other men, and women seeking escape from a loveless marriage, often to an older man, which gave
239:
The actual name of the author now known as Marie de France is unknown; she has acquired this nom de plume from a line in one of her published works: "Marie ai num, si sui de France," which translates as "My name is Marie, and I am from France." Some of the most commonly proposed suggestions for the
147:. Virtually nothing is known of her life; both her given name and its geographical specification come from manuscripts containing her works. However, one written description of her work and popularity from her own era still exists. She is considered by scholars to be the first woman known to write
544:
Marie de France introduces her fables in the form of a prologue, where she explains the importance of moral instruction in society. In the first section of the prologue, she discusses the medieval ideal of "clergie". Clergie is the notion that people have a duty to understand, learn, and preserve
468:
Breton lais were certainly in existence before Marie de France chose to recast the themes that she heard from Breton minstrels into poetic narratives in Anglo-Norman verse, but she may have been the first to present a "new genre of the lai in narrative form." Her lays are a collection of 12 short
501:
alone, Marie de France has deviated from common poets of her time by adding subtle, delicate, and weighted writing to her repertoire. Marie de France took her opportunity as a writer to make her words be heard, and she took them during a time where the production of books and codexes was a long,
492:
she uses to prepare her readers for what is to come. The first line dictates “Whoever has received knowledge/ and eloquence in speech from God/ should not be silent or secretive/ but demonstrate it willingly” Marie de France, in so many words, credits her literary skills to God and is therefore
643:
The lais also exhibit the idea of a stronger female role and power. In this, she may have inherited ideas and norms from the troubadour love songs that were common at the
Angevin courts of England, Aquitaine, Anjou and Brittany; songs in which the heroine "is a contradictory symbol of power and
505:
Unlike the heroes of medieval romances, the characters in Marie’s stories do not seek out adventure. Instead, adventures happen to them. While the settings are true to life, the lais often contain elements of folklore or of the supernatural, such as
Bisclavret. While the setting is described in
556:
However, in the new fables, featuring human female characters, Marie de France asserts female power and cunning, disparaging men who are ignorant or behave foolishly. One character, a peasant woman, makes multiple appearances in the fables and is praised for her shrewd and sly ways. Fables 44,
666:
In addition to her defying the construct of love exhibited by the contemporary church, Marie also influenced a genre that continued to be popular for another 300 years, the medieval romance. By the time Marie was writing her lais, France already had a deep-rooted tradition of the love-lyric,
630:
Marie's lovers are usually isolated and relatively unconcerned with anything outside the immediate cause of their distress, whether a jealous husband or an envious society. However, "the means of overcoming this suffering is beautifully and subtly illustrated." "Marie concentrates on the
532:, she reveals a generally aristocratic point of view with a concern for justice, a sense of outrage against the mistreatment of the poor, and a respect for the social hierarchy. Nevertheless, Marie's lais have received much more critical attention in recent times.
623:, the adulterous lovers are severely condemned, but there is evidence that Marie approved of extramarital affairs under certain circumstances: "When the deceived partner has been cruel and merits deception and when the lovers are loyal to one another." In Marie's
379:
It is clear from her writing that Marie de France was highly educated and multilingual; this level of education was not available to the common or poor at this time, so we can infer that Marie de France was of noble birth, as other noble women such as
Heloise and
548:
Structurally, each of the fables begins with the recounting of a tale, and at the end Marie de France includes a short moral. Some of these morals, like those translated from Aesop’s fables, are expected and socially congruous. For instance, the fable of
523:
Only five manuscripts containing some or all of Marie’s lais exist now, and the only one to include the general prologue and all twelve lais is
British Library MS Harley 978. That may be contrasted with the 25 manuscripts with Marie's
1005:
Webb, Shawncey J. "Marie de France." Reference Guide to World
Literature. Ed. Sara Pendergast and Tom Pendergast. 3rd ed. Vol. 1: Authors. Detroit: St. James Press, 2003. 658-659. Gale Virtual Reference Library. Web. 8 February
1015:
Burgess, Glyn S., and Busby, Keith, 1986, p 11: " Marie's poetry has caused great praise to be heaped on her and it is much appreciated by counts and barons and knights who love to have her writings read out again and
631:
individuality of her characters and is not very concerned with their integration into society. If society does not appreciate the lovers, then the lovers die or abandon society, and society is the poorer for it."
1520:. Knoxville: U of Tennessee P, pp 79–106. Rpt. in Classical and Medieval Literature Criticism. Ed. Jelena O. Krstovic. Vol. 111. Detroit: Gale, 2009. Literature Resource Center. Web. 28 September 2010.
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the idea that women can have sexual freedom. She wrote lais, many of which seemed to endorse sentiments that were contrary to the traditions of the church, especially the idea of virginal love and marriage.
1132:"Marie de France." Arts and Humanities Through the Eras. Ed. Edward I. Bleiberg, et al. Vol. 3: Medieval Europe 814-1450. Detroit: Gale, 2005. 207-208. Gale Virtual Reference Library. Web. 8 February 2015.
1123:"Marie de France." The Middle Ages: An Encyclopedia for Students. Ed. William Chester Jordan. Vol. 3. New York: Charles Scribner's Sons, 1996. 120-121. Gale Virtual Reference Library. Web. 8 February 2015.
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inarticulacy; she is at once acutely vulnerable and emotionally overwhelming, irrelevant and central." Marie's heroines are often the instigators of events, but events that often end in suffering.
143:, likely born in France, who lived in England during the late 12th century. She lived and wrote at an unknown court, but she and her work were almost certainly known at the royal court of King
506:
realistic detail, the subject is a werewolf, sympathetically portrayed. Marie moves back and forth between the real and the supernatural, skillfully expressing delicate shades of emotion.
958:
Petersen, Zina Nibley, Dr. "Middle
English, Oral (folk) and Written (clerical) and Mixed (civic)." British Literary History 1. Brigham Young University, Provo. 24 Sept. 2013. Lecture.
361:. Longsword was a recognized illegitimate son of Henry II. If Marie was actually Henry II's half-sister, a dedication to his son (who would be her nephew), might be understandable.
680:
story); lai (Breton melodies); conte (recounting the story narrated by the lai). Additionally, Marie de France brought to the fore a new genre known as chivalric literature.
497:). She wants people to read what she has produced, along with her ideas, and as such urges readers to search between the lines, for her writing will be subtle. In this
384:
were also educated and wrote. In addition to secular wealthy women, a number of religious women of this period also used their education and pursued writing (
671:
represent, in many ways, a transitional genre between Provençal love lyrics from an earlier time and the romance tradition that developed these themes.
419:, but there is presence of an Anglo-Norman dialect in her writings. Hence scholars generally deduce she lived in the parts of ĂŽle-de-France close to
1751:
659:, where the lady who becomes Guigemar's lover is kept behind the walls of a castle which faces the sea, or "merely of close surveillance, as in
331:
Scholars have dated Marie's works to between about 1160 and 1215, the earliest and latest possible dates respectively. It is probable that the
520:
with her at the end of the lai. The setting for Marie's lais is the Celtic world, embracing
England, Wales, Ireland, Brittany and Normandy.
2033:
1983:
358:
1988:
265:
268:. Based on evidence from her writings, it is clear that, despite being born in France, she spent much of her life living in England.
1396:
Steinberg, Theodore L. Reading the Middle Ages: an
Introduction to Medieval Literature.Jefferson: McFarland, 2003. Print, p 58.
1289:
2008:
350:
323:
481:), frequently describe courtly love entangled in love triangles involving loss and adventure, and "often take up aspects of the
302:
241:
194:
1606:
1588:
1492:
354:
271:
Four works, or collections of works, have been attributed to Marie de France. She is principally known for her authorship of
1744:
277:, a collection of twelve narrative poems, mostly of a few hundred lines each. She claims in the preambles to most of these
48:
1993:
2028:
2003:
2038:
1954:
1299:
1228:
1203:
1178:
1097:
1998:
1737:
1703:
Complete bibliography of her works, including secondary literature (Archives de littérature du Moyen Âge, Arlima)
541:
are no concrete guidelines for morality; and men, women, and animals receive varying treatments and punishments.
20:
1060:
450:
MS Harley 978, written in Anglo-Norman French in the mid-13th century, may reflect the dialect of the copyist.
2018:
651:
are often imprisoned. This imprisonment may take the form of actual incarceration by elderly husbands, as in
585:
502:
arduous, and expensive process where just copying the Bible took fifteen months until the text’s completion.
257:
2023:
1978:
1973:
2013:
890:
273:
213:
703:, which, perhaps predictably, spanned much more now than a few weeks of the hero's life, a knight named
627:, "love always involves suffering and frequently ends in grief, even when the love itself is approved."
1910:
1882:
1844:
1826:
1808:
1724:
404:
124:
699:, a poet named Thomas Chestre composed a Middle English romance based directly upon Marie de France's
1639:
233:
1760:
335:
were written in the late 12th century; they are dedicated to a "noble king", usually assumed to be
308:
204:
1570:
Pipkin, Christopher Lee. “Love Without Measure: Proverb Problems in the Lais of Marie de France”.
611:, love is associated with suffering, and over half of them involve an adulterous relationship. In
459:
176:
781:
1900:
689:
54:
1436:. Kalamazoo, Michigan: Western Michigan University for TEAMS. Medieval Institute Publications.
1244:
198:, based upon a Latin text. Recently, she has been (tentatively) identified as the author of a
1716:
854:
Grillo, Peter R. (1988). "Was Marie de France the Daughter of Waleran II, Count of Meulan?".
159:
376:, written in around 1180, the lais of a Marie, which were popular in aristocratic circles.
365:
340:
1710:
1634:
1262:
8:
1862:
1763:
710:
494:
397:
336:
317:
249:
245:
229:
144:
364:
It is likely that Marie de France was known at the court of King Henry II and his wife,
1928:
1923:
1895:
1555:
1086:
871:
726:
488:
One may have a better sense of Marie de France from her very first lay, or rather, the
381:
65:
1933:
1918:
1663:
1650:
1602:
1584:
1488:
1295:
1224:
1199:
1174:
1103:
1093:
1066:
1056:
747:
393:
181:
106:
87:
1659:
980:
1872:
1729:
1672:
1477:
BĂĽrger, Christa. "Die Ordnung der Liebe. Marie de France". Sinn und Form. 1 (2019).
1474:. Translated into Modern English prose with an introduction. Penguin Books Limited.
1052:
905:
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684:
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581:
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allowed to write the lays without her patron’s permission (her patron likely being
416:
1890:
1654:
1596:
1578:
1482:
577:
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and perhaps reflects their relative popularity in the late Middle Ages. In these
447:
432:
171:
1702:
1143:
807:
Marie, ki en sun tens pas ne s'oblie; Maria di Francia: la Storia oltre l'enigma
212:
were and still are widely read and influenced the subsequent development of the
516:
woman who pursues the titular character and eventually brings her new lover to
185:
167:
926:, edited by Stephen Greenblatt, W. W. Norton & Company, 2012, pp. 142-143.
313:
1967:
1938:
1777:
1107:
369:
261:
253:
1070:
909:
1857:
1852:
1697:
1546:
European Authors 1000-1900 A Biographical Dictionary of European Literature
984:
576:("Concerning the Cock and the Fox"), is considered an early version of the
389:
1525:
The Lays of Marie de France, Translated, with Introduction and Commentary
1338:
Mickel, Emanuel J. Jr., p 100, citing Professor Schiött, author of
705:
278:
199:
148:
114:
1620:
875:
300:
fables that have also been attributed to her besides a retelling of the
1834:
1816:
1782:
1643:
1509:. Wiley-Blackwell. Part IV: Encounters with Other Cultures, pp 199–214.
613:
471:
463:
385:
83:
1709:
1580:
Medieval Women's Writing: Works by and for women in England, 1100-1500
357:. However, it has also been suggested that Count William may refer to
867:
436:
282:
1507:
A Companion to Medieval English Literature and Culture c.1350–c.1500
1681:
1677:
424:
420:
412:
287:
155:
1692:
713:
wrote a long poem about Marie de France in octosyllabic couplets,
224:
619:
320:, although this last attribution is not accepted by all critics.
136:
1698:
Le Cygne, published by the International Marie de France Society
1798:
517:
508:
477:
345:
296:
1548:. New York: The H.W. Wilson Company. 1967. 604–5. Print.
349:, is dedicated to a "Count William", who may have been either
1514:
Controlling Space and Secrets in the Lais of Marie de France.
513:
428:
403:
She was first called "Marie de France" by the French scholar
163:
110:
835:
Holmes, Urban T. (1932). "New thoughts on Marie de France".
166:, as were most authors and scholars of that era, as well as
1317:
The Norton Anthology of English Literature: The Middle Ages
264:; and Marie de Meulan, wife of Hugh Talbot and daughter of
140:
1055:, 1936- (Pbk. ed.). Grand Rapids, MI.: Baker Books.
34:
is an appellation or descriptor. There is no family name.
1340:
L'Amour et les amoureux dans les Lais de Marie de France
683:
In the late 14th century, at broadly the same time that
327:
The Woman and the Wolf in Marie de France’s “Bisclavret”
281:
that she has heard the stories they contain from Breton
1553:
La Vie seinte Audree, A Fourth Text by Marie de France.
411:, and this name has been used ever since. She wrote in
922:
Simpson, James, and Alfred David. "Marie de France."
442:
Three of the five surviving manuscript copies of the
409:
Recueil de l'origine de la langue et poesie françoise
19:
For the French princesses named Marie (or Mary), see
1759:
1423:
Burgess, Glyn S., and Busby, Keith, 1986, p 36.
1405:
Burgess, Glyn S., and Busby, Keith, 1986, p 26.
1369:
Burgess, Glyn S., and Busby, Keith, 1986, p 27.
1360:
Burgess, Glyn S., and Busby, Keith, 1986, p 31.
967:
Burgess, Glyn S., and Busby, Keith, 1986, p 11.
1025:
Burgess, Glyn S., and Busby, Keith, 1986, p 8.
924:
The Norton Anthology of English Literature Volume 1
898:
Cahiers de Civilisation Medievale (Xe-XIIe Siecles)
1617:Material Marie: The Power of Textiles in the Lais.
1085:
1518:Place, Space, and Landscape in Medieval Narrative
1223:. New York: W W Norton & Co. pp. 191–3.
1173:. New York: W W Norton & Co. pp. 175–6.
935:Kibler, William W. and Grover A. Zinn, p 589
595:, they are translated from an English version by
485:, and at times intrusions from the fairy world."
423:, or alternatively in an area in-between such as
1965:
1470:Burgess, Glyn Sheridan, and Keith Busby, 1986.
1451:The Feminist Companion to Literature in English
1432:Laskaya, Anne, and Salisbury, Eve (Eds), 1995.
1046:
945:
943:
941:
228:"Marie de France presents her book of poems to
1354:
1198:. New York: W W Norton & Co. p. 177.
1119:
1117:
1083:
1033:
1031:
1745:
1484:The Lais of Marie de France: text and context
439:, unless she had been thoroughly anglicized.
291:that she first reveals her name to be Marie.
285:, and it is in the opening lines of the poem
938:
822:Marie de France et les èrudits de Cantorbéry
634:
368:. A contemporary of Marie, the English poet
26:In this medieval name, the personal name is
1449:Blain, Virginia, et al. "Marie de France,"
1414:Mickel, Emanuel J. Jr., pp 57–66
1114:
1028:
1752:
1738:
1707:
975:
973:
891:"Si Marie de France Ă©tait Marie de Meulan"
674:
446:are written in continental French, whilst
1598:Marie de France and the poetics of memory
1541:. Woodbridge, D.S.Brewer, 2012 (Gallica).
1088:The library : an illustrated history
949:Burgess, Glyn S., and Busby, Keith, 1986.
888:
775:
773:
563:A Second Time, a Woman Tricks Her Husband
322:
223:
1530:Kibler, William W. and Grover A. Zinn.
1480:
1467:. Santa Barbara: ABC-CLIO, 1998. Print.
1465:Encyclopedia of Folklore and Literature
1218:
1193:
1168:
1148:UF College of Liberal Arts and Sciences
970:
779:
415:, a dialect localized around Paris and
240:identity of this 12th-century poet are
1966:
1651:Works by Marie de France in eBook form
1594:
1544:Kunitz, Stanley J., and Vineta Colby.
853:
834:
770:
303:Legend of the Purgatory of St. Patrick
242:Marie of France, Countess of Champagne
195:Legend of the Purgatory of St. Patrick
1733:
1693:International Marie de France Society
1621:https://www.jstor.org/stable/26392839
1539:Marie de France: A Critical Companion
1523:Gallagher, Edward J., ed. and trans.
1378:Butterfield, Ardis, 2009, p 200.
1314:
1141:
824:. Paris: Editions Classiques Garnier.
819:
804:
306:and, recently, a saint's life called
1720:. New York: Robert Appleton Company.
1537:Kinoshita, Sharon, Peggy McCracken.
745:
1574:vol. 103, no. 3, 2019, pp. 307-321.
1460:Chicago: U. of Chicago Press, 2003.
1291:Routledge Library Editions: Chaucer
188:into Anglo-Norman French and wrote
13:
2034:13th-century English women writers
1984:12th-century English women writers
1387:Mickel, Emanuel J. Jr., p 58.
1351:Mickel, Emanuel J. Jr., p 102
667:specifically in Provence. Marie's
580:tales, and was an inspiration for
14:
2050:
1989:12th-century French women writers
1725:Roles of Women in the Middle Ages
1708:Herbermann, Charles, ed. (1913).
1669:Works by or about Marie de France
1627:
1142:Shoaf, Judy (December 11, 2014).
591:According to the epilogue of the
559:The Woman Who Tricked Her Husband
219:
162:influence. She was proficient in
1950:
1949:
1685:
1633:
1567:. New York: Twayne, 1974. Print.
1532:Medieval France: An Encyclopedia
780:Classen, Albrecht (2003-09-15).
47:
2009:Writers of Arthurian literature
1505:. In: Brown, Peter (Ed), 2009.
1481:Burgess, Glyn Sheridan (1987).
1443:
1426:
1417:
1408:
1399:
1390:
1381:
1372:
1363:
1345:
1332:
1323:
1308:
1282:
1279:Concerning the Cock and the Fox
1273:
1255:
1237:
1212:
1187:
1162:
1135:
1126:
1077:
1040:
1019:
1009:
999:
990:
961:
952:
929:
214:romance/heroic literature genre
21:Mary of France (disambiguation)
1527:. Hackett: Indianapolis, 2010.
1458:The Anonymous Marie de France.
1434:The Middle English Breton Lays
1294:. Routledge. August 29, 2021.
1092:. New York, NY: Skyhorse Pub.
916:
889:Pontfarcy, Yolande de (1995).
882:
847:
828:
813:
798:
761:
739:
693:, itself a Breton lai, in his
453:
1:
1263:"7.6 The Nun's Priest's Tale"
1144:"The Lais of Marie de France"
732:
607:In most of Marie de France’s
374:Life of Saint Edmund the King
709:. In 1816, the English poet
343:. Another of her works, the
339:or possibly his eldest son,
246:Marie, Abbess of Shaftesbury
7:
1684:(public domain audiobooks)
1601:. Catholic U of America P.
1472:The Lais of Marie de France
1315:David, Alfred, ed. (2000).
1150:. The University of Florida
1049:The lais of Marie de France
720:
569:and Scots-Irish tradition.
274:The Lais of Marie de France
174:. She is the author of the
10:
2055:
1994:13th-century English poets
1764:writers of the Middle Ages
1619:Le Cygne 3 (2016): 39–52.
1534:. New York: Garland, 1995.
1512:Calabrese, Michael, 2007.
1501:Butterfield, Ardis, 2009.
1463:Brown, Mary Ellen, et al.
1037:Whalen, Logan E, p 62
996:Whalen, Logan E, p 63
457:
125:Medieval French literature
25:
18:
2029:12th-century French poets
2004:British writers in French
1947:
1909:
1881:
1843:
1825:
1807:
1791:
1770:
1595:Whalen, Logan E. (2008).
1304:– via Google Books.
1219:Gilbert, Dorothy (2015).
1194:Gilbert, Dorothy (2015).
1169:Gilbert, Dorothy (2015).
1047:Marie de France (1995) .
786:The Literary Encyclopedia
635:Defying church traditions
535:
250:Henry II, King of England
234:Charles Abraham Chasselat
190:Espurgatoire seint Partiz
154:Marie de France wrote in
120:
102:
94:
79:
71:
61:
46:
39:
2039:12th-century translators
1678:Works by Marie de France
1660:Works by Marie de France
647:The heroines in Marie's
205:The Life of Saint Audrey
53:Marie de France from an
1999:Anglo-Norman literature
1711:"Marie de France"
1563:Mickel, Emanuel J. Jr.
1267:chaucer.fas.harvard.edu
1084:Murray, Stuart (2009).
910:10.3406/ccmed.1995.2630
675:Influence on literature
602:
460:Lais of Marie de France
177:Lais of Marie de France
1901:Mechthild of Magdeburg
1329:Mickel, Emanuel J. Jr.
1221:Marie de France Poetry
1196:Marie de France Poetry
1171:Marie de France Poetry
1051:. Hanning, Robert W.,
809:. Rome: Bagatto Libri.
328:
236:
55:illuminated manuscript
1717:Catholic Encyclopedia
1560:(July 2002): 744-777.
1453:(Yale UP, 1990, 714).
979:Hazell, Dinah, 2003.
820:Rossi, Carla (2009).
805:Rossi, Carla (2007).
551:The Wolf and the Lamb
351:William of Mandeville
326:
227:
2019:Medieval women poets
837:Studies in Philology
366:Eleanor of Aquitaine
341:Henry the Young King
309:La Vie seinte Audree
16:Medieval French poet
2024:French rhetoricians
1979:13th-century deaths
1974:12th-century births
1863:Hildegard of Bingen
1551:McCash, June Hall,
690:The Franklin's Tale
586:Nun's Priest's Tale
574:Del cok e del gupil
567:The Merchant’s Tale
495:Henry II of England
398:Hildegard of Bingen
337:Henry II of England
258:Marie I of Boulogne
252:; Marie, Abbess of
248:and half-sister to
230:Henry II of England
145:Henry II of England
2014:French women poets
1929:Christine de Pizan
1924:Catherine of Siena
1896:Gertrude the Great
1638:Works by or about
1615:Wright, Monica L.
1503:England and France
1456:Bloch, R. Howard.
727:Tristan and Iseult
475:) to 1,184 lines (
400:, to name a few).
382:Christine de Pizan
372:, mentions in his
329:
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1934:Julian of Norwich
1919:Bridget of Sweden
1664:Project Gutenberg
1608:978-0-8132-1509-9
1589:978-0-7456-3256-8
1494:978-0-7190-1923-4
1487:. Manchester UP.
1053:Ferrante, Joan M.
782:"Marie de France"
748:"Marie de France"
394:Bridget of Sweden
359:William Longsword
266:Waleran de Meulan
262:Abbess of Barking
180:. She translated
139:1160–1215) was a
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160:Anglo-Norman
158:, with some
153:
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1792:9th century
1771:8th century
706:Sir Launfal
512:features a
483:merveilleux
454:Breton lais
279:Breton lais
149:francophone
1968:Categories
1817:Hrotsvitha
1783:Sahakdukht
1644:Wikisource
1062:080102031X
791:2009-10-12
767:Burgess 7.
733:References
614:Bisclavret
572:Fable 51,
472:Chevrefoil
464:Breton lai
386:Hrotsvitha
84:Old French
72:Occupation
1108:277203534
987:Volume 2.
753:31 August
687:included
655:, and in
437:Aquitaine
283:minstrels
260:; Marie,
98:1160–1215
32:de France
30: and
1955:Category
1682:LibriVox
1557:Speculum
1071:34140523
876:43629213
721:See also
657:Guigemar
561:and 45,
499:Prologue
490:Prologue
425:Brittany
421:Normandy
413:Francien
288:Guigemar
156:Francien
88:Francien
80:Language
1858:HĂ©loĂŻse
1671:at the
1016:again."
843:: 1–10.
661:Laustic
620:Equitan
390:HĂ©loĂŻse
254:Reading
151:verse.
66:England
1799:Kassia
1605:
1587:
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1177:
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874:
701:Lanval
593:Fables
536:Fables
530:Fables
526:Fables
518:Avalon
509:Lanval
478:Eliduc
396:, and
346:Fables
312:about
297:Ysopet
208:. Her
172:Breton
111:fables
95:Period
1761:Women
1006:2015.
894:(PDF)
872:JSTOR
653:Yonec
514:fairy
433:Anjou
429:Vexin
232:" by
184:from
164:Latin
103:Genre
28:Marie
1603:ISBN
1585:ISBN
1516:In:
1489:ISBN
1296:ISBN
1225:ISBN
1200:ISBN
1175:ISBN
1156:2016
1104:OCLC
1094:ISBN
1067:OCLC
1057:ISBN
755:2017
669:Lais
649:Lais
625:Lais
617:and
609:Lais
603:Love
462:and
444:Lais
333:Lais
210:Lais
141:poet
107:Lais
75:Poet
62:Died
1835:Ava
1680:at
1662:at
1653:at
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906:doi
864:doi
584:'s
435:or
427:or
353:or
318:Ely
316:of
137:fl.
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135:(
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