Read L'eptameron by Marguerite de Navarre Online


L'heptameron des nouvelles (Nouvelle edition) / de tres haute et tres illustre princesse Marguerite d'Angouleme reine de Navarre; nouv. ed. publ. d'apres le texte des ms. avec des notes et une notice par P. L. JacobDate de l'edition originale: 1861Ce livre est la reproduction fidele d'une oeuvre publiee avant 1920 et fait partie d'une collection de livres reimprimes a la dL'heptameron des nouvelles (Nouvelle edition) / de tres haute et tres illustre princesse Marguerite d'Angouleme reine de Navarre; nouv. ed. publ. d'apres le texte des ms. avec des notes et une notice par P. L. JacobDate de l'edition originale: 1861Ce livre est la reproduction fidele d'une oeuvre publiee avant 1920 et fait partie d'une collection de livres reimprimes a la demande editee par Hachette Livre, dans le cadre d'un partenariat avec la Bibliotheque nationale de France, offrant l'opportunite d'acceder a des ouvrages anciens et souvent rares issus des fonds patrimoniaux de la BnF.Les oeuvres faisant partie de cette collection ont ete numerisees par la BnF et sont presentes sur Gallica, sa bibliotheque numerique.En entreprenant de redonner vie a ces ouvrages au travers d'une collection de livres reimprimes a la demande, nous leur donnons la possibilite de rencontrer un public elargi et participons a la transmission de connaissances et de savoirs parfois difficilement accessibles.Nous avons cherche a concilier la reproduction fidele d'un livre ancien a partir de sa version numerisee avec le souci d'un confort de lecture optimal. Nous esperons que les ouvrages de cette nouvelle collection vous apporteront entiere satisfaction.Pour plus d'informations, rendez-vous sur www.hachettebnf.frhttp: // /12148/bpt6k28121j...

Title : L'eptameron
Author :
Rating :
ISBN : 24695355
Format Type : Hardcover
Number of Pages : 588 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

L'eptameron Reviews

  • Nathan
    2019-03-13 00:33

    Even had Marguerite de Navarre not written The Heptameron, the world of letters would be deeply indebted to her for her patronage of Rabelais and his genius novels about the giants Gargantua and Pantagruel. As it is, we owe her even more for her assemblage of a treasury of bawdy tales; a cycle which is consciously modeled upon Boccaccio’s Decameron.Ten travelers, five women and five men, are delayed in their travels when a rainstorm washes out a bridge. While they await its rebuilding, they entertain themselves by telling stories. The bridge will take ten days to rebuild, and they agree that each of them will tell one story each day. They agree to a few ground rules for their storytelling--the stories must be true (identities of guilty parties tend to be protected, but we know who they really are; wink, wink, nudge, nudge); and the stories must not be derived from professional tellers of tales. What we overhear (along with the monks hosting our traveling party) are 72 stories (the book was never finished) of bawd, debauchery, faithlessness and faithfulness, lust, rape, love, women and men, cuckoldry, decrepit and unruly monks and priests, honour and chastity, and in general The Great Battle of the Sexes, Sixteenth Century Edition.Not to be missed is the framing tale of the ten travelers. Their stories are chosen to bolster their own views about the relations of the sexes; this one to demonstrate the faithlessness of the supposedly chaste woman, that one to demonstrate the lack of control men have over their own lust, the other to prove that one should never leave a monk alone with a maiden or one’s own wife. Their discussions about each story reveal a complex hermeneutic, one person claiming that the story demonstrates that the protagonist is a faithful wife, while the other claims that the story proves that women are only after their own pleasure. de Navarre knows better than to tell us any kind of truth about a quagmire as rich in literary possibilities as is the everlasting battle of the sexes.I read the Chilton translation of 1984 from Penguin. It is a rather stiff-collared translation, somewhat stilted, feeling more archaic than contemporary, even without archaisms. de Narvarre’s language is multi-voiced and a translator must pay close attention to multiple subtleties. I won’t enthusiastically endorse Chilton, but whichever translation one picks-up, be sure that it contain as complete a text as possible; The Heptameron has a rather checkered textual history.

  • Aubrey
    2019-03-13 21:03

    Part of my incentive for reading books like these for my own pleasure (this copy of mine, purchased at a library sale, has a sticker from being checked out of a college reserves for a Medieval and Romance class) is encountering this chunk of the canon on my own terms before some future class sinks its claws into it. I wouldn't say that all first meetings with a text that occur in a classroom are doomed (Hamlet in my senior year of high school is a prime example), but enough of my past has been littered with such misguided ruination that I prefer to take what I can get while I still have the time. Also, I will not deny that another part of the urge is to be able to say yes indeed I have read the thing and can discuss it with you to the full extent of text and capabilities so giving me that sidelong look of snickering disbelief will only leave you with a brainfull of hurt, so. Both conscientious autodidacticism and personal pride work out in the end.I must admit to two things in regards to this work. One, were it not for the intermissions where the storytellers debate among themselves over the previous story's merits, accuracy, and interpretations, I would have ended the book bored out of my gourd. Two, The Decameron is one of the few books that I gave up in high school and haven't yet given a second chance; as the most famous example of the breed The Heptameron belongs to, it's not a mark in my favor that it remains abandoned. However, that happened in 10th grade, and I feel I've come far enough in my reading to try my hand again at books of its sort. Besides, next year's looking good for a return to Boccaccio, so it won't remain stalled for much longer.However, although the law of men attaches dishonor to women who fall in love with those who aren’t their husbands, the law of God does not exempt men who fall in love with women who aren’t their wives.I like variety in my feminist texts so as to keep the critical thinking fresh and the respect for differences of opinions sound. In light of that, while this is yet another white woman that I'm reading, 16th century French nobility is nothing to sneeze at, especially when considering the author was almost declared a heretic in times when that still meant sociopolitical death. Also, the text itself is of merit on its own terms, as the adherence to stories of what had actually occurred told by characters based off of real life personages makes for a fascinating cross section of both history and historical thought. Trust me, when you know that the character Parlamente is a stand in for Marguerite de Navarre herself and Hircan is her husband the King, their clashes of opinion take on a new and powerful context.‘In my opinion,’ said Saffredent, ‘when a man desires that sort of thing from a woman, the greatest honour he can do her is to take her by force.’A popular sentiment in those days that has changed less in the last four and a three quarter centuries than most would like. This, along with other claims of death by lack of love and/or (male) fucking supported by arguments of honor and God made for a multifarious thought experiment equal parts empowering, odious, and insightful. As for favorites, Story 49 involved a woman having sex with one man after the other who each thought he was the only one, a group of that after discovering the truth attempted to slut shame her en masse and ended up failing miserably. The woman neither died of shame nor was murdered by irate manpain, and that's just the way I like it.Although what the Queen of Castille had done was certainly not something to be praised either in her or anybody else, Oisille could see that on the pretext of criticizing her behaviour the men would go so far in speaking ill of women in general [that] they would no more spare women who were modest and chaste than they would those who were wanton and lewd.In terms of my favorite of the ten characters, while Parlamente can be most relied upon for moral intelligence, it is the super religious Oisille that is the owner of that brilliant tidbit above. When combined with this later musing of hers:Man’s greatest woe, therefore, is to desire death and not to be able to have it. Consequently, the greatest punishment hat can be meted out to an evil-doer is not death but continuous torture, torture, severe enough to make him desire death, yet not so severe that it causes death.she's definitely the most hardcore of the lot, a lot whose bantering discussions I was sad to see end. Instead of the planned 100, Navarre's work stretches only to 72, but the bulk has enough going for it to make the abrupt parting a thoughtful one. The work's survived 472 years and counting for good reason, I can tell you that much.

  • Yann
    2019-03-05 21:03

    Ça faisait longtemps que je voulais lire ces histoires écrites sur le modèle du Décaméron de Boccace. Ici seulement sept journées au lieu des dix de l'italien pour Marguerite de Navarre(1492-1549), sœur de François Ier, mais c'est assez. J'ai apprécié la variété comme le piquant des situations, mais aussi les échanges animés et plein de sel de nos conteurs. Mais la lecture a été lente et parfois un peu pénible: le texte est en français d'époque, et ça demande un effort d'adaptation un peu usant à la longue, qui l'emporte sur la satisfaction ou le plaisir de lire un français un peu différent. Sinon, c'est une très belle œuvre, plaisante et drôle. Cette édition a un appareil critique conséquent, et comme j'avais acheté un livre d'occasion, j'ai pu profiter de tous les crayonnages de la précédente lectrice, laquelle avait vraisemblablement étudié le texte dans ses moindres détails.

  • Lee Foust
    2019-03-14 01:29

    Well, it turns out that one of my favorite literary forms is what the editor of the Penguin edition of Jan Potocki's novel The Manuscript Found in Saragossa has dubbed "The novel in frames." This form would be a collection of tales recounted (specifically, usually stories bearing traces of an oral tradition; they were called novellas in the Middle Ages when this form was most prevalent) within some sort of frame-story pulling the disparate tales collected into a cohesive narrative whole of one type or another. Apuleius' Metamorphoses (AKA The Golden Ass) is perhaps the oldest Occidental novel-in-frames and The 1,001 Nights and Giovanni Boccaccio's The Decameron are certainly the most well know. However, Potocki's clever pseudo-Gothic extravaganza and Marguerite de Navarre's study of the concept and practice of love and male/female relations in early 16th century France, Spain, and Italy are both lesser-known but non-the-less lovely and worthwhile exemplars of the minor Occidental tradition of the form.The most interesting element, for me, of The Heptameron is how well it exploits the proliferation of voices in its story-telling frame. In fact, although not exactly what he had in mind in his study of Dostoevsky's novels, I can think of no other text that so well evoked what critic Mikhail Bakhtin calls "The dialogic." In its exploration of the concept, still in many ways formulating itself in Early Modern Europe at the time of the text's composition, the Heptameron acts almost like a narrative Socratic dialogue upon the subject, with discussion and examples. Fascinatingly the tales bring up the obvious but so difficult fact that love is the vaguest of all of our Indo-European words, with as many concepts surrounding it as people have existed, used, lived by, and grown disillusioned with the word.Of course, since love is gendered, the male and female tale-tellers here tell tales from their gender's two perspectives, and then argue copiously about what the narratives mean philosophically throughout. Not only is this entertaining--for what a narrative means once it has been told is always fascinating, I think, and having the text itself offer more than one interpretation for each of its narratives is certainly food for thought and tends to lift us out of our modern and opinionated subjectivity--but we are offered a female perspective here from an era in which women were almost only seen and hardly ever heard so the perspective is welcome. The text's opinions are also expressed in ways surprisingly different than our modern identity-politics and editorial arguments. Although the male characters' views are a bit extreme at times--perhaps invoked more to be ridiculed rather than to be examined?--I didn't find the interpretive discussions following the narratives annoyingly one-sided. After all, men do often take ultra-stances in order to be taken for more masculine than we really are, and women do often fall back on religion which protects them and their chastity in situations where they are otherwise vulnerable to the sexual double-standard or to the threat of sexual violence. So, while extreme views are taken on both sides, the text is never really feminist in the modern sense of the word--although I do think that, collectively, the stories seem to favor a female perspective. (It would be fascinating if the text turned out to have been written by a man, which I think is not at all impossible, and would, in the best case scenario, underscore my feelings that great texts are not gendered nearly as much as we assume them to be.)the Heptameron takes on its theme, love, as a feeling, certainly, as desire, as jealousy, as joy and/or a font for melancholy, even frustration and disappointment, but also love as the social convention that institutions have made it, part of the family's clan-building (that European tradition of nobility passed down from the Roman patrician class). Marriage presented therefore as duty, or amongst the lower classes perhaps as a bond, a relationship with others. But love in the Renaissance was also a part of social manners, of courtly decorum, an entirely symbolic bond (that fine amours of chaste medieval lovers who exist in idyllic realms outside of either marriage or illicit sexuality) as well as the partial property of the Catholic church, and often meddled with my priests and monks who, although officially exempt (this text makes abundantly clear), were often the most sexually frustrated characters of the period. Even beyond the courtly situations, dynasty-moves, and emotional states--all of which we might expect from a text of this period on this topic--I was surprised by the text's unveiling of actual erotic issues (like the randiness of the Franciscans) and even female sexual desire without, of course, being explicit in any way.Narrative is the perfect place for the unfolding of eroticism, it now occurs to me, linking it implicitly with all of the other issues mentioned above. For, in real life, we never--or at least I never have--approached a stranger in a neutral room in order to perform a sex act, as contemporary pornography frames it, in a theatrical and groundless manner void of content and therefore any inhibitions or even, sometimes, goodwill. In reality we walk a delicate crossroads between emotion, sexual desire, social convention, future allegiance, ideology and romanticism whenever we speak to another human being and The Heptameron reminded me just what a complex conglomerate our interest in love is and how wholly it is interconnected to nearly every other aspect of our social lives, despite our culture's holding its very core as its greatest taboo subject.Also interesting here is the Early Modern (quite early Renaissance) tone of the collection. For some reason--perhaps a misleading, anachronistic Penguin book cover--I assumed for years that The Heptameron was from a later period, seventeenth or eighteenth century. Actually, it appears to have been collected/composed in the first half of the sixteenth century, smack-dab in the first days of what we used to call the Renaissance. It sits, like its cousins, Ariosto's Orlando Furioso and Cervantes' far more satirical Don Quixote, as a text soaked in the Medieval idyllic invention of a concept of courtly, chivalric love, full of emotion AND social convention, but it also enacts, in many of its narratives, the staining and ruination of such a concept and its conventions when some people fail to play by the rules. Particularly at fault here is the priest/monk class, who more often than not impede love in these tales or, because of their own inability to adhere to any of the social conventions of love (because their vocation precludes marriage or fine amours), simply rape. Such realism, which quickly produces irony and cynicism, is perhaps why this medievalist finds the Early Modern period so disappointing/depressing (Machiavelli et al). To me the Renaissance represents the loss of innocence in the Western world, our introduction to the Satanic--and witch hunting, vigilantes, and the rule of the law through execution so quickly fallows that disappointment.

  • Roman Clodia
    2019-02-20 03:08

    Marguerite de Navarre was the sister of Francis I of France and so was the grandmother of Henri de Navarre, and the great-aunt of Marguerite, better known as 'la reine Margot' from the Dumas novel and far more fabulous film.Although her authorship is disputed, the Heptameron is usually attributed to her, and first appeared in print in the mid-1500s. Inspired by Boccaccio's The Decameron, this uses a similar framework of a group of noble French men and women trapped and taking refuge in a flood: in order to amuse themselves, they take it in turns to tell a series of stories each day on a set theme.Bawdy, erotic, sweet, witty and funny, these tales chart a verbal battle of the sexes, and the story-tellers reveal and conceal their own erotic fears and fantasies. Slightly reminiscent, also, of Chaucer, the stories are full of tricky wives, adulterous husbands, corrupt churchmen and nobles either getting away with it, or their come-uppance, depending on the ideology of the teller. More disturbing is the number of stories which centre on rape and sexual violence against women, often depicted as merely excessive passion on the part of the male lover - and it's this aspect of the book which has attracted the attention of so many feminist scholars.Equally fascinating is the relationship between the story-teller and the story they tell, as well as the gradually-revealed tensions within the group itself: we're never quite sure about the back-histories and sexual currents that flow between husbands, wives, mistresses and lovers, but certainly the stories are used as weapons and coded messages. In this sense, the 'real' story takes place in the interstices of the ostensible tales and emerges only provisionally and hesitantly.Whether this was really written by a woman, or merely collected by her with just some of her own writings included, this throws a fascinating light on C16th French debates about the nature of gender, and particularly the politics of the erotic.

  • Czarny Pies
    2019-03-09 20:22

    The Heptameron is an extremely important historical document and great work of literature. The author was the Queen of Navarre and mother of Jeanne d'Albret who will become the Queen of France and will play a major role in the success of the Calvinist Reformation in France. From the Heptameron one gains tremendous insight into the values and social attitudes of the aristocratic classes that were about to wreck havoc in Europe.Marguerite de Navarre was a serious minded woman who viewed the conventions of her time with a critical eye. Unlike the Boccaccio's Decameron on which it was modelled, the Heptameron is only intermittently funny. Marguerite finds the corruption and lechery of the clergy reprehensible. She cannot laugh at it all the time. She has to attack it outright on occasions. Similarly, she occasionally sees humour arising from the powerlessness of women in her society but unlike Boccaccio she will not simply laugh when she describes women who use deceit to get around their male masters. She wants things to change and believes they can. With such a mother we can understand why her daughter embraced Calvinism. Mother and daughter wanted society to change and improve itself.The Heptameron was supposed to be a Decameron but the author only lived to write 72 tales. As in the Decameron (or the Canterbury Tales) there is a group of 10 people who take turn telling tales. What is so distinctive about the Heptameron is that after every tale, there is a group discussion in which widely differing interpretations are put forward. Marguerite de Navarre does not take sides. She wants to show that among intelligent people there existed well thought out divergence of opinion on most issues.This is an outstanding document of its time. It demonstrates that critical thinking has been with us for a very long time.

  • Chris
    2019-03-05 21:06

    I hope de Navarre is suing the makers of the Tudors. I really do.Talk about your love triangles.

  • Roman Clodia
    2019-02-20 02:12

    Marguerite de Navarre was the sister of Francis I of France and so was the grandmother of Henri de Navarre, and the great-aunt of Marguerite, better known as 'la reine Margot' from the Dumas novel.Although her authorship is disputed, the Heptameron is usually attributed to her, and first appeared in print in the mid-1500s. Inspired by Boccaccio's Decameron, this uses a similar framework of a group of noble French men and women trapped and taking refuge in a flood: in order to amuse themselves, they take it in turns to tell a series of stories each day on a set theme.Bawdy, erotic, sweet, witty and funny, these tales chart a verbal battle of the sexes, and the story-tellers reveal and conceal their own erotic fears and fantasies. Slightly reminiscent, also, of Chaucer, the stories are full of tricky wives, adulterous husbands, corrupt churchmen and nobles either getting away with it, or their come-uppance, depending on the ideology of the teller.And it is this fascinating relationship between the story-teller and the story they tell, as well as the gradually-revealed tensions within the group itself that lift this beyond the purely entertaining (not that there's anything wrong with the pure ability to entertain).Whether this was really written by a woman, or merely collected by her with just some of her own writings included, this throws a fascinating light on C16th French debates about the nature of gender, and particularly the politics of the erotic.

  • Marie
    2019-02-23 23:11

    In the early sixteenth century, a group of nobles are gathered in a monastery, awaiting the repair of a bridge so they can return to the French court. They decide to pass the time telling tales, with the caveat that every tale told must be true, and must es with the question of whether women or men are more virtuous.Queen Marguerite de Navarre composed the stories, it is said, while lying in her litter, and based the story-tellers on members of her court. The prolog of this edition includes scholarship guessing at the identities of the various characters. It's generally assumed that Parlamente is Marguerite herself and Hircan her husband Henry. Certainly of all the couples they have the most heated back-and-forths.I found the stories enjoyable to various degrees, though for a bit there I wondered if EVERY story would involve someone having sex with someone and thinking it was really someone else because, like, it was dark.The story-tellers never question the mechanics of this in supposedly true stories. It's something I've seen in medieval fiction, for certain, but I can't stop thinking "But how do you not know the dude you're having sex with isn't your husband??" I digress. Not ALL the stories had that mechanic. Quite a lot of them had outright rape. I found it telling that one of the stories told to show how women are more wicked then men is a story about a woman who is forcibly raped - she then commits the sin of telling someone else it happened to her, under the guise of saying it happened to someone else, but at the end of the story accidentally slips in an "I". The cast of noble women and men both agree that she's a silly woman to be laughed at and now caught in her 'sin'. tee hee. Wait - what about the part where she's a rape victim?Heralded as a "battle of the sexes" the book frames the debate in a way that is revealing to modern eyes. Are women less than men in all things but virtuous and good or are women less than men in all things and also wicked?Another interesting fact was the way they believed that unconsummated love could, in fact, kill people, or at least make them very ill - but also that having too much sex would also make them weak and ill. Toward the end there is a discussion of whether a woman just up and dying from love itself is, in fact, less virtuous than her lover who then kills himself for her sake. (The argument is, she had no volition in dying from love, therefore it shouldn't count ad a mark in her favor.)The character of Hircan can be counted on after any tale to say that the man in the tale should have had sex as much as possible with as many women as possible whether they liked it or not. I was quite annoyed with him, and also with Simontaut and Saffredent, two men who say various quaint things like "He should have taken her by force - it's the highest honor he could do her. Everyone knows that when a lady is taken by force she's refused the fellow all other options." and lots of little things about women's cruelty knowing no bounds and all women being out for evol and only acting pious because they want to be known to be pious.I've gone on a bit. Obviously, I found it very, very interesting as regards gender and sex relations in the early modern era.

  • verbava
    2019-03-22 01:05

    оповідання маргарити наваррської трохи втомлюють, але трапляються в них речі, від яких тяжко відірватися (і які в момент написання були непомітні): асиметрія статей – що для чоловіка легкі розваги, те для жінки привід бути довічно ув'язненою в кімнаті зі скелетом свого коханця; виправдання згвалтувань – і взагалі, вона сама дражнилася, руки показувала; ідея честі – поки ніхто не помітив, то й честь незаплямована, але якщо вже гулянки вийшли на яв, лишається хіба зарізатися; принципове розрізнення любові й сексу, через яке в цій книжці з'являється добра половина покійників, – дружина і кохана то найчастіше дві різні жінки, і в ідеалі обидві довічно. про виразну меблевість жінок, зокрема в оповіданнях, жінками розказаних, уточнювати особливо й не треба. якщо коротко, то не так вражають сюжети, як світогляд; і не так сам світогляд, як те, що через півтисячоліття в ньому все одно стільки знайомого.

  • Bruce
    2019-02-27 19:20

    I read through day one of the seven days of stories. They are all a lot alike, dealing with sexual mores and shenanigans among (mostly) the nobility in 16th century France. More interesting is the author herself, Marguerite, Queen of Navarre (1492-1549) and loving sister of Francis I. Her religious sympathies lay with those trying to reform the church. She used her position to protect those favoring reform in France. She came very close to being charged a heretic, but in turn was sheltered by her brother, the King. She tended toward a mystical form of faith, and gathered around her those with similar views. The Heptameron is not mystical though. It's earthiness points to the double standard at play in relationships between the sexes in French society. Of the ten story-tellers (5 men and 5 women), the men generally stand on the side of conquest, while the women tend toward the virtue of fidelity.

  • Scribble Orca
    2019-03-15 03:10

    Alle likes faucet review may be de-posited without hecitation here like wise ADshuns auch.Meanwhile, lettuce sea wots drin. Et Comment!

  • Colleen
    2019-03-18 23:21

    This is a series of short stories narrated by characters who are waiting for a bridge to be built so that they may cross a river. They debate the morality of each short story through the values of the time period. Lots of adultery.

  • Sally
    2019-02-20 01:25

    Literature of 1550s France, 15 February 2015This review is from: The Heptameron (Classics) (Kindle Edition)Attributed to Marguerite of Navarre and set in mid-1500s Europe, this is an intriguing collection of seventy-two stories.With a similar framework to the Canterbury Tales and the Decameron, the narrators - five men and five women of noble background - are thrown together in an abbey in the Pyrenees following a flood. As they wait for a bridge to be built, they entertain themselves by telling (supposedly true) stories. These concern chaste - and faithless - husbands and wives, immoral monks, people who love to the death, people who seek revenge, is even about the horrid state of toilets in an abbey! A glimpse into the world and attitudes of the time.Each story is followed by the characters debating what they've just heard, and their personalities come out in their talk, from pious old Oisille and sensible Parlamente to the rather brutish Hircan who derides chaste heroes, and the misogynistic Saffredent.The modern translation makes this completely readable and I quite enjoyed it, though the stories are variable in quality, and I found seventy-two was quite enough!

  • Sara
    2019-02-20 01:25

    A fascinating 16th century proto-novel addressing love, sex and religion. The book is actually a collection of short stories told in turns by a group of nobles stuck in the mountains. It's modeled on the Decameron, but it's more serious and at the same time more interesting. The characters discuss each story after it's been told, often focusing on whether men or women are more virtuous, loving, and cunning, better able to carry off a tryst, and more suited to get into heaven. They also rail relentlessly against Franciscan monks, who, if we believe the storytellers, were constantly looking for ways to get into bed with married women and steal money from foolish men and women alike. The most interesting part about the book to me is the way that, leaving setting aside, I almost felt like I was listening to a conversation on a modern street corner. The battle of the sexes will probably never go away, and substitute little-boy-molesting Catholic priests for philandering Franciscan monks and you'd easily have a modern Heptameron.

  • Micebyliz
    2019-03-03 19:29

    had a quiet, alone evening to finish this book. I only picked it out because it was a favorite of Coco Chanel (go figure) according to the new bio i read. It's got a hefty intro/blahdeeblah :) sorry :)which i sort of read for sort of understanding? but honestly the whole thing is an eye roller.I know i was supposed to get a lot more out of this book, but apparently it was a little too quiet where i was reading...

  • Kelly
    2019-03-11 03:04

    In the Heptameron the author does an amazing job with dialogue and inserting herself in the piece. The author creatively put her views in her work, but using multiple characters and third person, never once saying “I” as herself. This strategy is difficult to achieve because most people wish to just write of their opinions; however she did this but through other means. She gets the reader’s attention through each characters view on a subject and through tales that they tell which must be true. She is able to get her view in subtly with the dialogue that takes in the conversations between the characters. I would like to able to be this subtle and strategic with getting a point across that I feel passionately about while reaming not overbearing.

  • Greg
    2019-03-15 22:31

    Since I just wrote about the DECAMERON . . . .This I almost have actually read in its entirety (it's shorter than Boccaccio). Someone else described it as being more or less the French version of the CANTERBURY TALES. Sort of, yeah. I'm not sure I'd place Navarre on equal footing with Chaucer, but there are plenty of similarities, except that Navarre is a lot easier and probably more fun to read. I would describe it more like Gogol meets Boccaccio, in France. Don't assign it to high school students without a permission form getting signed. Obviously, it gets a high rating by virtue of being the HEPTAMERON; that doesn't mean that I necessarily recommend anyone run out and buy a copy. Check a few stories out online and you'll get the overall picture.

  • Lindsey
    2019-03-16 21:33

    This book was required reading for a World Lit course, and was a selection of the stories, so I have not read the entirety of The Heptameron. However, the stories were wonderful, and I enjoyed the framework style of writing. Compared to other framework stories studied in the course, this was by far my favorite. The female perspective of the author made it more enjoyable for a modern female reader, as so much 'old' literature is painted by the societal views of females at the time. It's not that I don't enjoy those stories as well, but The Heptameron was refreshing in that sense. It is one that I will certainly consider reading more of in my free time, which I cannot say happens all TOO often with a lot of the much older literature I've studied for school, so take that as you will.

  • Sara
    2019-03-16 22:14

    I read this after taking a course on Medieval Women's Lit and I liked it more than I thought I would. We had discussed the Decameron in class multiple times which always led to a discussion on this book. We didn't actually read it in class because I think our professor was trying to stay away from women who, during that time period, had free reign (literally in Navarre's case) to do as they pleased. Still though, the thought of reading something written by a princess of France who was inspired by a book as fun as the Decameron was too tempting. I'm happy I gave it a shot. :)

  • Michelle Szetela
    2019-03-22 22:33

    It took me until tonight to even read a third of the stories in this collection. They're good stories, but there's a repetition to them (men are or are not virtuous; women are or are not virtuous; members of the clergy are or are not virtuous, etc.) that gets tiring after awhile. Essentially it was a somewhat entertaining means of interaction between characters who wished to argue the ways in which groups of people are good or bad - a version of the Decameron. At this point I'm putting the book aside for awhile and will plan to come back to it later.

  • James Violand
    2019-03-13 19:11

    Along with Boccaccio and Chaucer, Marguerite compiled a book wherein various characters spout tales to their fellow pilgrims/survivors/stranded travelers while waiting for their ordeal to end. The Queen of Navarre comes off poorly by comparison. Whereas The Decameron was compelling and The Canterbury Tales mildly amusing, The Heptameron was excrutiatingly boring. Marguerite wrote scandalous tales of nobility engaged in adultery. Few could identify with any of these tales. Avoid this book. If I could rate this with negative stars, I would.

  • Mindy
    2019-02-26 23:07

    2.5~ish/5I only read a few stories from this book for, once again, my LIT class.I read: First Day: Story 5,Fourth Day: Story 32 and 36, Eighth Day: Prologue and Story 71.Overall based on these stories, I thought they were okay, nothing special. Maybe it's because the topics of faithless spouses and corrupt religious figures don't appeal to me.

  • Tessa Campbell
    2019-03-08 20:31

    Originally composed in French in the mid 1500's. This book consists of 70 short stories. It is amazing to see the many of the issues during this era are quite contemporary; lawyers and priests are depicted as deceivers. They utilize their professions to hide mask their true identities. The stories deal with devoutness, chastity, adultery, love, and desire.

  • Haley Carnefix
    2019-03-03 01:32

    Marguerite de Navarre was a woman before her time. Her commentary on the structure and hierarchy of those relationships considered "romantic" is revealing and biting at times. I loved the way that, through narrative, she unpacks and really expounds on what it meant not only to be a woman in her time, but the brutality and betrayal that really makes up "courtly love".

  • Emily
    2019-03-15 19:10

    I've had to read pieces of this book for several classes, but I've not actually read the whole thing sequentially. Probably not good for my perception of it. But. Pretty much a direct answer to the Decameron in a lot of ways (not just structurally). And really fun to read. It read faster than the Decameron for me.

  • Natalie
    2019-03-04 00:11

    Read this for a French Literature class and ended up adoring it. If you have an affinity or any sort of soft spot for fairy tales, this would probably be something you'd like. It basically consists of short little folk tales, all with specific life lessons. I find it to be a good "travelling" book.

  • Elsa
    2019-03-19 03:11

    I liked some parts... The rest was just too old for my taste. And the XVI century vocabulary was terribly difficult. I just read the parts I had to read for class... still boring and tedious. Good luck with it.

  • Sara Stiles
    2019-03-19 00:08

    An odd yet fun read. I started this as an assignment and thought "here we go. Another boring school reading" but this is not what followed. It was interesting, funny, smart, and educational. I highly recommend this story.

  • Nicole
    2019-02-20 22:27

    Sure, it's all about sex: sex & honour, sex & rape, sex and marriage, sex and death, sex & class, sex & men/women, sex & lies, sex & religion...But I liked it.Really interesting insight into the divide between love/marriage and male/female concepts of honour.