By Rouben C. Cholakian, Patricia F. Cholakian
Sister to the king of France, queen of Navarre, talented author, spiritual reformer, and customer of the arts—in her many jobs, Marguerite de Navarre (1492-1549) was once the most vital figures of the French Renaissance. during this, the 1st significant biography in English, Patricia F. Cholakian and Rouben C. Cholakian draw on her writings to supply a vibrant portrait of Marguerite's private and non-private existence. liberating her from the shadow of her brother François I, they realize her titanic impression on French politics and tradition, and so they problem traditional perspectives of her family members relationships.
The authors spotlight Marguerite's enormous function in advancing the reason for non secular reform in France-her help of vernacular translations of sacred works, her denunciation of ecclesiastical corruption, her founding of orphanages and hospitals, and her protection and safeguard of persecuted reformists. Had this plucky and lively girl no longer been sister to the king, she may probably have ended up on the stake. notwithstanding she remained a religious catholic, her theological poem Miroir de l'âme pécheresse, a magical summa of evangelical doctrine that used to be viciously attacked via conservatives, continues to be to at the present time an immense a part of the Protestant corpus.
Marguerite, with her brother the king, was once a key architect and animator of the subtle entertainments that grew to become the hallmark of the French court docket. continually wanting to inspire new principles, she supported the various illustrious writers and thinkers of her time. in addition, uniquely for a queen, she used to be herself a prolific poet, dramatist, and prose author and released a two-volume anthology of her works. In reassessing Marguerite's huge, immense oeuvre, the authors show the diversity and caliber of her paintings past her recognized number of stories, posthumously referred to as the Heptaméron.
The Cholakians' groundbreaking examining of the wealthy physique of her paintings, which uncovers autobiographical parts formerly unrecognized through so much students, and their learn of her surviving correspondence painting a lifestyles that absolutely justifies Marguerite's sobriquet, "Mother of the Renaissance."