WOMAN

VOLUME V

WOMEN OF MEDIÆVAL FRANCE

by

PIERCE BUTLER, PH. D.

OF TULANE UNIVERSITY OF LOUISIANA

ODETTE DE CHAMPDIVERS AND CHARLES VI.
After the painting by Albrecht de Vriendt

The king, now often idiotic when he was not raving,... To amuse and distract him, and also to strengthen the Burgundian influence, the Duke of Burgundy provided him with a fair child as playmate and mistress. To the sway once held by Valentine over Charles there now succeeded Odette. She was little more than a child, but she became mistress as well as playfellow of the mad king. Of humble origin (daughter of a horse dealer), she wears in court history a name better than that she was born to, Odette de Champdivers; and the people, indulgent of the sin of the mad king, called her "la petite reine" She was happy, it seems, and kind to the king, amused him, was loved by him; and, more true to him than was quite pleasing to the Burgundians, did not play false to France in later years when Burgundy and England were leagued together.

WOMAN

In all ages and in all countries

VOLUME V

WOMEN OF MEDIÆVAL FRANCE

BY

PIERCE BUTLER, PH. D.

Of Tulane University of Louisiana

Illustrated

PHILADELPHIA
GEORGE BARRIE & SONS, PUBLISHERS

TO

M. L. B. AND J. P. B.

PREFACE

It is the customary privilege of the author to meet you at the threshold, as it were, bid you welcome, and in his own person explain more fully and freely than he may elsewhere the plan and intent of his book. After you have crossed this imaginary boundary you may judge for yourself, weigh and consider, and condemn even with scant regard for the author's feelings; for as a guest it is your privilege. But here outside I am still speaking as one with authority and unabashed; for I know not, and will not let myself fancy, how the reader will censure me. Though the little that need be said may be said briefly, I trust the reader will be a reader gentle enough to permit me graciously this word of general comment upon the whole work.

From the mediaeval Ladies' Book, of a kind that will be referred to in the following pages, to the very latest volume of Social England, or more aptly, perhaps, to the most local and frivolous Woman's World edited by an Eve in your daily paper, all the little repositories of ebbing gossip help immensely in the composition of a picture of the life of any period. They are not history; by the dignified historian of a few generations ago they were neglected if not scorned; but more and more are they coming to their own as material for history. In like manner the volume hardly claims to be a formal history, but rather ancillary to history. It has been the aim to present pictures from history, scenes from the lives of historic women, but above and through all to give as definite an idea as might be of the life of women at various periods in the history of mediaeval France.

The keenness of your appetite for the repast spread will be the measure of the author's success. But whether I have been successful or not, the purpose was as has been said. Figures more or less familiar in history have been selected as the centrepieces; but scarcely anywhere have I felt myself bound to expound at length the political history of France: that was a business in which few women had a controlling voice, however lively their interest may have been, however pitifully or tragically their fate may have been influenced by battle or politics or mere masculine capricious passion.

may be said of the soldier. Of these women of mediaeval France, as of all in the good days of old, it might be better said that it was not even theirs to do; the relief of action was not theirs; but to suffer and to die, without question. Yet the life was not all pain and suffering and sadness, as the scenes depicted will show. It is merely that the laughter has fallen fainter and fainter and died away--comedy perishes too often with the age that laughed at it--while the tears have left their stain.

With this little hint to the reader I have done, and let the book tell him more if he please. To those who helped me in the writing of, nay, who made it possible to write this book, my gratitude is none the less strong that I do not write them down in the catalogue. Many a page will bring back vividly to them as well as to me the circumstances under which it was written. May these memories sweeten my thanks to them.

PIERCE BUTLER.
New Orleans.

CHAPTER I

IN THE DAYS OF THE CAPETIAN KINGS

In the older conception, history was a record chiefly of battles, of intrigues, of wicked deeds; it was true that the evil that men did lived after them; at least, the even tenor of their ways was passed over without notice by the chroniclers, and only a salient point, a great battle or a great crime, attracted attention. If little but deeds of violence is recorded about men, still less notice does the average mediaeval chronicler condescend to bestow upon women. History has been unjust to women, and this is preeminently the case in the history of France at the period with which we are to begin in this chapter. The age of the good King Robert was an age of warfare; the basic principle of feudalism was military service; and what position could women occupy in a social system dependent upon force? The general attitude toward women is hinted at by the very fact that, in the great war epic of Roland, the love story, upon which a modern poet would have laid much stress, is entirely subordinated; it is the hero and his marvellous valor that the poet keeps before us. The heroine, if she can be so called, the sister of Roland's brother in arms, Oliver, is not once named by the hero. In the midst of the battle, when Roland proposes to sound his horn to summon Charlemagne to his aid, Oliver reproaches him:

(By my beard! if I live to see my sister, the beautiful Aude, you shall never be her husband!) After this she is mentioned no more until Charlemagne returns to Aix with the sad news of Roland's heroic death. Then comes to him la belle Aude to ask where is her betrothed Roland. "Thou askest me for one who is dead," says Charlemagne; "but I will give thee a better man, my son and heir, Louis." "I understand thee not," replies Aude. "God forbid that I should survive Roland!" She falls fainting at the emperor's feet, and when he lifts her up he finds her dead. Then he calls four countesses, who bear the body into a convent and inter it, with great pomp, near the altar. (II. 3705-3731.) La belle Aude has fulfilled her mission when she dies for love of Roland. If she had been on the battlefield, she might have dressed Roland's wounds, since the rôle of physician and nurse was frequently played by women. Otherwise there is little use for women in an age