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The Theme of Fortune in the Works of Christine De Pizan

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The Theme of Fortune in the Works of Christine De Pizan THE THEME OF FORTUNE IN THE WORKS OF CHRISTINE DE PIZAN by Carole Ann Buchanan Submitted for the Degree of Doctor of Philosophy University of Glasgow Department of French May, 1994 ProQuest Number: 13833800 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13833800 Published by ProQuest LLC(2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW UNIVERSITY LIBRARY 'j'U'L Co^ ( Copyright by Carole Ann Buchanan 1994 All Rights Reserved This entire thesis has been composed by myself and has never previously been submitted for a Higher Degree. Carole Ann Buchanan ABSTRACT THE THEME OF FORTUNE IN THE WORKS OF CHRISTINE DE PIZAN Carole Ann Buchanan University of Glasgow, 1994 Supervisor: Professor Angus J. Kennedy This thesis explores one of the most interesting and central themes of Christine de Pizan’s works, namely the theme of Fortune, a topic which raises key philosophical isssues in any debate on divine providence, free will and chance. As such, the theme has considerable light to shed on Christine’s development as a thinker and a writer. Chapter I provides a general context and focus for this study by (a) examining those aspects of Christine’s life which explain why she was prompted to reflect on the nature of the goddess Fortune, and by (b) defining the categories of belief regarding Fortune that Christine would have been familiar with through her reading. This latter section also includes a discussion of the traditional remedies to be adopted against the workings of this goddess. The thesis then examines in detail the theme of Fortune as it occurs in Christine’s writings. Three successive chapters (II, III and IV) look respectively at Christine’s early works composed from 1394-1403, the Livre de la mutacion de Fortune (a text devoted entirely to the theme of Fortune), and finally the works composed over the period 1403-1429. Incidences of Christine’s use of the theme of Fortune were identified and analysed for any significance with regard to the form of writing, the type of work, and the category of the goddess, whether Pagan, Christian or Annihilated. These features were also studied to identify any trends or evolutions in Christine’s treatment of the theme. It was found that neither the form of writing, poetry or prose, nor the kind of writing, secular or didactic, had much significance on Christine’s use of the theme. Christine did, however, quite consistently avoid the use of the theme of Fortune in religious works. This approach reflects the Church’s attitude towards the goddess which was to deny her any power. The goddess was predominantly depicted as pagan in character and negative in influence. It was also found that Christine’s attitude to the goddess did evolve over time. Initially, Christine used Fortune as a target for her grief and anger, seeing herself very much as an impotent victim of this capricious goddess. Eventually, after much reflection on the nature of the goddess Christine achieves a kind of philosophical mastery over Fortune through the use of stoic virtues such as personal strength, patience, and endurance, through the development of wisdom and prudence, and ultimately through the Christian virtues of hope and unquestioning faith in God’s purpose and providence. To my father, Robert Watt M.B.E. (1921-1993) i ACKNOWLEDGEMENTS My most sincere appreciation and gratitude goes to Professor Angus J. Kennedy who supervised this project indefatigably, year after year. Without his expert guidance and patient support this thesis would never have been completed. Needless to say, however, the shortcomings of this work are entirely mine. I also wish to thank my colleagues at Old Dominion University Library who have assisted me with their professional support, and all those friends who have encouraged and supported me personally in this long endeavour. TABLE OF CONTENTS Page CHAPTERS I. CHRISTINE DE PIZAN AND THE GODDESS FORTUNE...................1 II. CHRISTINE’S USE OF FORTUNE: 1394-1403 .....................................61 III. LE LIVRE DE LA MUTACION DE FORTUNE.................................. 130 IV. CHRISTINE’S USE OF FORTUNE: 1403-1429 .................................. 194 CONCLUSION....................................................................................................................... 261 BIBLIOGRAPHY.................................................................................................................. 281 APPENDICES A. REFERENCES TO FORTUNE LISTED CHRONOLOGICALLY. .295 B. SELECTED TERMINOLOGY USED WITH FORTUNE....................375 CHAPTER ONE CHRISTINE DE PIZAN AND THE GODDESS FORTUNE And blest are those Whose blood and judgement are so well commeddled That they are not a pipe for Fortune’s finger To sound what stop she please. Shakespeare, Hamlet This thesis will explore what may initially appear to be a narrow and circumscribed area of study, namely, the theme of Fortune1 in the works of Christine de Pizan. In fact the Fortune theme raises general philosophical and theological questions of great significance, given that, ever since the beginnings of Christianity, it has been central to debates on divine providence, free will, fate, and God’s ability to create and control all things. J.C. Frakes explains the problem thus: The philosophical and theological problems evoked by fortuna are myriad, extending to both the ethical and metaphysical levels: what value is to be assigned to transitory earthly goods - wealth, power, fame, honors, bodily pleasures - as opposed to the one, eternal, spiritual good, the summum bonum? What legitimacy can reward and punishment by means of these goods have, if they are governed by an external, capricious power such as Fortuna? If this value and legitimacy are denied, the question follows, what is to be the goal of human existence, since the traditional opposition of good and evil is thus rendered invalid (since, as Boethius’ Prisoner laments, evil men often enjoy earthly goods, while the virtuous languish in destitution)?2 !The goddess will be consistently termed ‘Fortune’ in this study irrespective of the term used in the original texts. 2J.C. Frakes, The Fate of Fortune in the Early Middle Ages (Leiden: E.J. Brill, 1988), P.4. 1 i i The power attributed to the goddess Fortune was thus akin to the power most theologies, including the Christian one, attributed to their deity. This inevitably produced a tension between the two deities, Fortune and God, in the monotheistic Christian civilization. Fortune’s power and popularity, and the problem she therefore presented to God is perhaps best explained by Pliny the Elder (A.D. 23-79): Inuenit tamen inter has utrasque sententias medium sibi ipsa mortalitas numen, quo minus etiam plana de deo coniectatio esset. toto quippe mundo et omnibus locis omnibusque horis omnium uocibus Fortuna sola inuocatur ac nominatur, una accusatur, rea una agitur, una cogitatur, sola laudatur, sola arguitur et cum conuiciis colitur, uolubilis... que, a plerisque uero et caeca existimata, uaga, inconstans, incerta, uaria, indignorumque fautrix. huic omnia expensa, huic feruntur accepta, et in tota ratione mortalium, sola utramque paginam facit, adeoque obnoxiae sumus sortis, ut prorsus ipsa pro deo sit qua deus probatur incertus.3 Given this problem, many philosophers and theologians have since attempted to settle the question of Fortune. The discussion continued unabated, however, up to the late Middle Ages, when Fortune was still a very popular and highly influential figure. Christine de Pizan was not isolated from the influence of this figure, indeed she made extensive use of it, Fortune being one of the most pervasive themes in her works. Excluding 3G. Plinius Secundus, Naturalis Historiae. Book II, Chap.5. Translated thus in the 1855 Bohn edition, V ol.l, P.23 by J. Bostock and H.T. Riley: "Among these discordant opinions mankind have discovered for themselves a kind of intermediate deity, by which our skepticism concerning God is still increased. For all over the world, in all places and at all times, Fortune is the only god whom everyone invokes; she alone is spoken of, she alone is accused and is supposed to be guilty; she alone is in our thoughts; is praised and blamed and loaded with reproaches; wavering as she is, conceived by the generality of mankind to be blind, wandering, inconstant, uncertain, variable, and often favouring the unworthy. To her are referred all our losses and all our gains, and in casting up the accounts of mortals she alone balances the two pages of our sheet. We are so much in the power of chance, that change itself is considered as a God and the existance of God becomes doubtful." 2 the extensive work entitled the Livre de la mutacion de Fortune, which deals at length with the topic of Fortune, there are no fewer than 241 references to Fortune as a personalised goddess in Christine’s works. There are also 62 references to non-personalised fortune, whether good or bad. The prevalence of this theme seems to indicate that Fortune represented more to Christine than a mere convenient literary device or erudite classical reference. This thesis will attempt to determine what Fortune did indeed represent to Christine and how the concept of Fortune and Christine’s attitude to it evolved through the course of her life. This chapter will first attempt to provide a general context and focus by offering a brief outline of Christine de Pizan’s life (pp.3-24), followed by a closer examination of those events which led Christine to contemplate and reflect on the nature of Fortune (pp.24-35).
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