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Updated 04-28-08
Helisenne de Crenne /Marguerite
de Briet (d. aft.1552)
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"I LIKE MY BOOKS TO BE SHOWN TO COMPETENT PEOPLE."
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Marguerite de Briet was born in Abbeville, in Picardy, and married, perhaps about 1530, to Philippe Fournel, Seigneur de Crenne. Briet had a son or step-son who was being educated in Paris in 1548, and by 1552 she was legally separated from her husband and living near Paris. Nothing is known of her after that.
Between 1538 and 1540 Briet published three works, under the pseudonym "Helisenne"; in 1543 the three were published together as the oeuvre of the "Dame de Crenne." Because of Briet's use of the first person, the question of how much was autobiography and how much was fiction was raised then and continues today, although most critics now treat the works as fictional.
Angoysses douloureuses qui procedent d'amours (The painful torments which come from love) was published in 1538; the title goes on to tell the reader that the work was "written by Madame Helisenne, who discourages all people from following mad passion." The work has three parts: the first is a first-person account by a young married woman of her love affair and her husband's brutal reaction to it; most of the second and third parts are also in the first person, but here the narrator is the lover, telling of his rescue of his beloved from her husband and the young couple's later travels until their deaths (after which a third narrator describes their apotheosis). The first part, addressed to female readers, puts its emphasis on the characters' emotions rather than on their actions. The last two parts, directed to a mixed audience, are tales of adventure.
Apparently in response to the popularity of Angoysses, a year later Crenne published Les Epistres familieres et invectives, 18 letters, in 17 of which the character "Helisenne" responds in various ways to the situation described in Part 1 of Angoysses: she gives advice to women who may find themselves in a situation like hers and she responds to an angry letter from her husband; she also attacks critics of her writing.
In Le Songe de madame Helisenne (The dream of Mme. Helisenne), published in 1540, Crenne moves from the realistic and the romantic to the allegorical: "Helisenne" has a dream in which she witnesses the involvement of Venus and Pallas and Reason in the ending of a love affair. The work's purpose, the sub-title tells us, is to "incite all people to avoid vice and approve virtue." Her three original works would be published together in 1543 as Les Oeuvres de ma dame Helisenne.
Crenne worked to establish herself as a humanist: Les Epistres
and Le Songe were explicitly based on the writings
of Cicero; besides her three original works, she wrote Les
Eneydes, a prose version of the first four books of Virgil's
Aeneid (the story of Dido), published in 1541, "to which
translation are added through the phrasing many remarks, which
contribute greatly to the elucidation and ornamentation of these
books." The variety of her writing marks Helisenne de Crenne
as a Renaissance figure, as does her use of the classics and
of Roman mythology, and her love of words --- Latinate words,
Old French words, neologisms.
However, Crenne always considered her audience. For less educated
readers, a simplified edition of her works was published in 1551,
replacing unusual words with those that were more common. If
Crenne did not collaborate on this simplification, she at least,
according to the editor, gave permission for it.
On this page you'll find:
Links to helpful sites online.
Excerpts from translations in print:
Angoysses douloureuses qui procedent d'amours
Les Epistres familieres et invectives
Le Songe de madame Helisenne
Information about secondary sources.
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1. Item #23 in this collection of excerpts from Katherina M. Wilson's Women Writers of the Renaissance and Reformation is an excerpt from the fourth invective letter (to Elenot, one of her critics) of Les Epistres familieres et invectives; the translation is by Kittye Delle Robbins-Herring.
2. "The Power of the Pen: Letters of 16th-century Feminist Endure," by Nancy Kolski, a 2001 article on an interview with Jerry Nash, editor of the French critical edition of Les Epistres familieres et invectives. The article opens with a passage from the third invective letter (translated by Marianna M. Mustacchi and Paul J. Archambault) and includes illustrations from the 1539 Les Epistres familieres et invectives and the 1543 Les Oeuvres de ma dame Helisenne. (For more from Mustacchi and Archambault, see below, under "In print.")
3. Other essays, etc.:
(a) Click on "Traduction" for a translation of a 2003 essay on Crenne by Jean-Philippe Beaulieu, a bibliography of the early editions of her works, a selected list of critical studies, and (in French) the view of two of Crenne's contemporaries.
(b) "Clothing 'Dame Helisenne': The Staging of Female Authorship and the Production of the 1538 Angoysses douloureuses qui procedent d'amours" (2001), by Leah L.Chang, discusses the construction of the authorial figure "Helisenne" in the words of the text, and of the label "De Crenne" in the production of the first edition.
(c) "Renaissance Misogyny, Biblical Feminism and Helisenne de Crenne's Epistres familieres et invectives" (1997), by Nash, discusses Crenne's use of biblical imagery in the letter she attributes to her husband and in her own response; quoted passages are given in the original and in Nash's translation (for information on the print version of the article, see "Secondary sources").
(d) From Wikipedia, an entry on Crenne which includes a description of the rather complicated plot of Angoysses douloureuses.
4. Reviews (for information on the books' treatment of Crenne, see "Secondary sources"):
(a) Nash on Diane S. Wood's 2000 study, Helisenne de Crenne: At the Crossroads of Renaissance Humanism and Feminism (and elsewhere, half way down the page, another review, this by Cathleen M. Bauschatz).
(b) Patricia Phillippy on Janet Levarie Smarr's 2005 study, Joining the Conversation: Dialogues by Renaissance Women.
(c) Alison Baird Lovell on Virginia Krause's 2003 study, Idle Pursuits: Literature and oisivete in the French Renaissance.
(d) Anita Pachero on the 1998 essay collection, Attending to Early Modern Women.
5. The publisher's description of Neal's and Rendall's 1996 The Torments of Love, a translation of Angoysses douloureuses (for excerpts, see "In print"). At another site, the title page of a 1541 edition of Angoysses (one of four issued before 1545).
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Angoysses douloureuses qui procedent d'amours
[Lisa Neal and Steven Rendall have translated Angoysses douloureuses qui procedent d'amours. Neal's introduction describes Briet's other works as well as discussing the novel, and the notes are helpful:]
The torments of love / Helisenne de Crenne (Marguerite Briet);
edited and with an introduction by Lisa Neal; translated by Lisa
Neal and Steven Rendall. Minneapolis: University of Minnesota
Press, c1996. (xxxiii, 204 p.)
LC#: PQ1607.C65 A813 1996; ISBN: 0816627886
Includes bibliographical references (p. 203-204).
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"Ladies, I exhort you and plead with you to judge the great
power of love."
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[From Part 1, Chapter 2: married young, the character Helisenne had a deserved reputation for chastity until she and her husband went to a nearby city to deal with a property matter:]
Now, would to God I had had the Trojan Cassandra's powers.... Alas! I should have saved myself the endless regrets which daily pullulate in my sad heart; but I believe it was divine predestination, because I know I shall serve as an example to others.
Thus once we had arrived at our lodgings, I immediately went to lean on the windowsill and look out, happily talking to my husband.... That day was spent in all sorts of amusements and delightful pleasures.
The next day, I rose rather early, as was my custom, and getting dressed, went to open the window. Looking across the street, I saw a young man also looking out his window, and whom I began to look at attentively....
After having looked at him more than enough, I withdrew my gaze; but I could not keep from turning my eyes toward him again. He was also looking at me, which made me very happy; but I was inwardly astonished to find myself thus led to gaze at this young man; this had never happened to me with other men.....
Ladies, I exhort you and plead with you to judge the great power of love, considering I had never seen this person. You may find it very strange, for love usually results from continual contact.
Alas! I tried to resist, trying to drive love from my heart, for that evening, when I lay in bed with my husband, I began to think about the great friendship I had always had for him, and about my unblemished reputation, which up to that time was unmarked by anything that could tarnish my honor. Considering these things, reason corroborated me, counseling me to remain firm and not allow myself to be conquered, and said to me: "Why do you want to take the low road, filthy and fetid, and leave the beautiful full of fragrant flowers? You are bound to your husband; you can take your pleasure in marriage. It is a fair road, and by following it you can save yourself...."
Reason was once again dominant within me, for one good thought brought me another, and I began to consider and think over several stories, both ancient and modern, that mentioned the misfortunes that had come about from having infringed and corrupted chastity by exceeding the bounds of reason....
After considering all these things in my imagination, I had decided to refrain from love affairs, when sensual appetite attacked me with enormous force, trying to persuade me to follow it by accumulating in my wretched memory countless thoughts entirely different from the first ones, and these caused me to grow cold, and I found myself in an extremity so great it cannot be expressed by the voice, understood by the intelligence, or represented by the imagination. The image, effigy or semblance of the young man was painted and limned in my mind. This lent so much weight, favor, and aid to love that, intending to mitigate it, it made it grow and augment; and I said to myself: "It is foolish to be so timid; I must abandon the dismal fear of misfortunes that happened in the past and attend to the present time. I know several young ladies and girls who are said to have beaux who give them joy and happiness;.... One thing comforts me and that is that person who sins along with many others is not worthy of such great blame...."
And thus I began to drive reason away, whereby sensuality won the day. [pp.9-12]
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"I can counsel you and offer you advice."
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[The opening of the last chapter of Part 1:]
Most dear and honored ladies, may your hearts be moved to some astonishment in considering whence proceeds the boldness to take it upon myself to title the present work mentioning unchaste love affairs, which according to the opinion of some timid ladies might be judged more worthy of being kept in profound silence rather than published and vulgarized. But if you understand with what strength Love has constrained and labored me, I shall be blamed by none of you.
With that in mind, as I said before, and having several times laid down my quill, the affectionate desire I have in your regard, my noble ladies, has caused me to strive to tell you everything, without holding anything back; for through the knowledge of my mad folly, I can counsel you and offer you advice which will be useful and profitable to preserve you from such a conflagration. [p.73]
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"...in order that all readers... may preserve themselves."
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[And from near the end of the Part 3, the character who has described the apotheosis of Helisenne and her lover explains to the reader why he will publish the work. The first reason is that he has promised the lovers to do so; then:]
The other reason... is in order that all readers who busy themselves with reading these painful torments may preserve themselves and not allow sensuality to dominate reason, for fear of succumbing to such lasciviousness from which only intolerable pain can result. [p.201]
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Les Epistres familieres et invectives
[Marianna M. Mustacchi and Paul J. Archambault have translated the 18 letters of Les Epistres familieres et invectives (13 personal letters and 5 letters of invective); their introduction analyzes the development of Briet's ideas and writing style:]
A Renaissance woman: Helisenne's personal and invective letters
/ translated and edited by Marianna M. Mustacchi and Paul J.
Archambault. Syracuse, N.Y.: Syracuse University Press, 1986.
(vi, 140 p.: ill.)
LC#: PQ1607.C65 A26 1986; ISBN: 081562347X, 0815623488
Includes index. Bibliography: p. 123-132.
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"Fortune, flying through the air, has alighted on me."
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[From Personal Letter 10, to a friend. The character Helisenne confesses that she, who has counseled against falling in love, has done so herself, and here she describes the fear and hope she feels:]
Hoping for your consolation, I am telling you with tears and lamentations that adverse Fortune, flying through the air, has alighted on me, and like a perverse sorceress she has added to my many woes by stirring up in me a hateful jealousy, which has conjured up the image of an ugly, wicked old woman, shaking continuously like a leaf on a tree. The name of this accursed old hag is --- Fear. As you might well imagine she molested me beyond belief; but to repel her there appeared before me an old man with a happy, jovial face, uttering pleasant, loving words: his name is --- Hope. He is always telling me to take courage, and his persistence has brought me some measure of consolation. [p.63]
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"Experience has taught me that love can be compared to a
fire."
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[From Personal Letter 11; continuing to talk of her love, Helisenne tries to decide if her lover, now traveling, will remember or forget her:]
Experience has taught me that love can be compared to a fire: it dies quickly unless it is properly ventilated; on the other hand, continual stirring and prodding make it grow. So it is with lovers: an occasional irritation stirs and invigorates their love, which might risk dying out without an occasional stirring and ventilation.
After spending some time thinking this matter over I would set it aside to inquire whether my lover could ever cease loving me. After giving that matter some thought I concluded that it could easily happen, seeing as how troubled and depleted energies are the greatest enemies of young love. I could not help reflecting, therefore, that if my lover persisted in traveling---which usually entails some measure of discomfort---he might well decide to cease loving me. [p.66]
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"Socrates thought that any woman... was as malevolent as
Xanthippe."
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[From Invective Letter 3; after an exchange of insulting letters
between Helisenne and her husband, she responds here to one of
the misogynist statements he had made:]
What you say about Socrates, who suffered so greatly at the hands of his dreadful wife, does not amount to much. If you say that Socrates categorically railed against all women, you must remember that he himself belonged to the category of henpecked husbands. Therefore anything he saw bearing the same form, likeness or resemblance, to that which caused him such annoyance, Socrates judged apt to produce a like evil. Because one women was the cause of that philosopher's annoyance, Socrates thought that any woman coming within his sight was as malevolent as Xanthippe. His annoyance prevented him from seeing things clearly. [pp.93-94]
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"If perverse fortune allows one ignorant, dishonest, wicked
person to exist...."
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[From Invective Letter 4, to Elenot, a critic who apparently had suggested that women should not attempt to create literary works since they would never be able to do it well. You can see another part of this letter online; here Crenne voices the writer's eternal view of the critic:]
A painful anxiety disturbs me, unfortunately, when I recall that you have let it be known with your loathsome, mincing words that you would like to spend time reading my Angoysses, one of my lesser compositions. This is quite contrary to my wishes, for I like my books to be shown to competent people.
I know that some men of wit are naturally inclined to praise other people willingly, so that even if my works were of little value they would be kind enough to pardon the weakness of my style. I know that their encouragement would be a stimulus comparable to the one that impelled me to write in the first place, namely the fear I had of going under and drowning in the perilous sea of inactivity. Therefore I am reassured beyond doubt that they would enjoy reading my modest works and approve of them.
What a boundless pleasure it is for me to think that my books are being published in this great city of Paris, which is filled with innumerable crowds of people who love science, elegance, leisure and culture---the graces that flow from conversing with Minerva.
The only thing that disturbs these pleasant thoughts is the annoyance I feel in considering that if perverse fortune allows one ignorant, dishonest, wicked person to exist in that great city and then allows my books to fall within that blind man's hands, I am sure he will give them an unfavorable review. [p.102]
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"It was not in my power to express anything so vile."
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[The opening of Invective Letter 5, addressed to the citizens of a town which had seen itself unpleasantly described in Angoysses; Helisenne admits she erred, but not in the way the citizens claimed:]
Since I have learned, gentlemen citizens of Icvoc, that you feel I am to blamed because in my writing I recorded the smallest portion of your usual crimes, I have spent some time delving quietly into my thoughts, thinking over my narration of some of your natural vices. I have done so in order to determine whether I have deserved any of the blame ascribed to me.
But having thought it over thoroughly and wishing to render a just judgment, I blame myself exceedingly for having committed a great fault: at the time I started to publicize the detestable way you live, I should have ascertained whether or not my style was capable of exposing and publicizing the extreme perversity of your way of life.
Unfortunately, if I had thought matters over, my mind would have convinced me that it was not in my power to express anything so vile.... [W]hen I undertook this task my pen was not yet accustomed to expressing invectives. [pp.104-105]
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[This anthology includes a translation of Le Songe
de Madame Helisenne by Lisa Neal. Neal's introduction and
notes are generally useful, as is a brief bibliography. (See
the book's table of contents online.):]
Writings by pre-revolutionary French women: [from Marie de France
to Elizabeth Vigée-Le Brun] / Anne R. Larsen and Colette
H. Winn, editors (Garland reference library of the humanities;
v. 2111. Women writers of the world; v. 2.) New York: Garland
Pub., 2000. (xxiii, 592 p.: ill., facsims.)
LC#: PQ1113 .W75 2000; ISBN: 0815331908
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"After long lamentation my eyes... were finally overcome."
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[After a brief prologue which tells why this is "a dream worthy of being remembered":]
It was the season when Phoebus, passing through the Zodiac, retires to the sign of the Ram, and seeks to warm the cold goddess Cybele, and I was at that time in the ardor and flowering of my life. Hence I was marvelously stimulated by the god [Cupid].... Thus vehemently spurred on by him, because of the ceaseless and continuous suffering he caused me by launching love's swift attacks on me every day, I felt so vexed that after long lamentation my eyes, which I had tried to keep from sleeping, were finally overcome.
And then in my imagination was represented the view of a valley that was singularly delightful.... [p.66]
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"It is too difficult to extinguish your burning flames."
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[In the first part of Songe, a Lover and his Lady try to decide what to do about their unsatisfied love. Helisenne speaks only once, complaining to Cupid, who causes love but then refuses to help lovers be together:]
O, how I and other women are unfortunate and of unsound mind in adoring and honoring this Cupid!...
O, how infamous, wicked, and bad you are always to rejoice in the sufferings of others and to be saddened by their happiness! For this reason, knowing full well your malevolent nature, I wish it were in my power to deliver myself from being distressed by you. But for the poor, wretched people who have fallen into your snares, it is too difficult to extinguish your burning flames.... [p.76]
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"A long, eloquent speech has great power."
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[The goddesses Venus and Pallas appear: Venus to urge the lovers to go off together regardless of the consequences, Pallas to urge prudence and a concern for things higher that human love. Venus wins the Lady:]
Pallas's words did not have enough power to make the lady change her mind, but on the contrary, drawing closer to Venus, she persisted in her iniquitous resolution. [p.81]
[But Pallas convinces the Lover to leave (although he will later return, re-struck by Cupid's arrow):]
Because a long, eloquent speech has great power in lofty and arduous matters, Pallas's well-suited account had the effect of making the lover agree to separate from the lady. Wherefore, abandoning all care and concern about love, with a modest gait he began to follow the goddess. [p.81]
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"The soul... must... as queen and mistress rule over the
body."
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[The Lady is eventually freed of her love by Cupid, but now Sensuality and Reason arrive to compete for her:]
...Sensuality... began to exhort the lady not to abandon worldly delights, reminding her of past pleasures taken as much in unchaste looks as in words in conformity with acts. The lady being so poor in this battle, she would have been vanquished had not Reason aided her in this urgent case.
Reason began to speak: "So long as you constantly resist the spirit, you will remain perplexed, since it is the soul that must inform everything necessary to the government of man, and as queen and mistress rule over the body...." [pp.90-91]
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"My soul was shaken by such a violent sadness...."
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[After a brief interlude in which Helisenne and Reason discuss the merit of woman "in spite of her frailty," Reason convinces the Lady to live a chaste life. Then all of the figures of Helisenne's dream disappear. This passage ends the work:]
And after I had lost the sight of such an illustrious thing, my soul was shaken by such a violent sadness that vexation caused it to depart from sleep. Then, fearing that something so worthy of being remembered might be lost in oblivion, in order not to be guilty of blameworthy carelessness, I promptly took up my pen, in order to write it down among my works. [101]
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[Diane S. Wood's study is a good place to start. Wood discusses the original and modern editions of Crenne's works and traces the development of her persona in each of her works. Perhaps the most valuable chapter is the fifth, in which Wood treats the seldom-discussed Parts 2 and 3 of Angoysses and the not-yet-translated Eneydes. Wood gives the originals of all translated quotations, her notes are detailed, and the bibliography appears to include all earlier English-language studies. (See the book's table of contents online.):]
Wood, Diane S. Helisenne de Crenne: at the crossroads of Renaissance
humanism and feminism. Madison [N.J.]: Fairleigh Dickinson University
Press; London; Cranbury, NJ: Associated University Presses, c2000.
(186 p.: ill.)
LC#: PQ1607.C65 W66 2000; ISBN: 0838638562
Includes bibliographical references (p. 167-178) and index
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[Two of the chapters of Janet Levarie Smarr's study of Italian and French writers between 1450 and 1600 include discussion of Crenne's work: the letters of invective in "Dialogue & Letter Writing," and Le Songe in "Dialogue & Drama." The book's first chapter explains Smarr's conception of "dialogue," and the last looks at the relationship among the writers discussed. (See the book's table of contents online.):]
Smarr, Janet Levarie. Joining the conversation: dialogues
by Renaissance women. Ann Arbor: University of Michigan Press,
c2005. (312 p.)
LC#: PN1551 .S55 2005; ISBN: 0472114352
Includes bibliographical references (p. 287-303) and index
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[Virginia Krause's study includes a chapter, "Portrait of an Early Modern Oiseuse: Les Angoysses douloureuses," which sees Crenne's novel as superficially exemplifying the dangers into which an "idle woman" must fall, while the Epistres familieres et invectives subvert that exemplification and invite a closer reading of the novel:]
Krause, Virginia. Idle pursuits: literature and oisivete
in the French Renaissance. Newark: University of Delaware Press;
London; Cranbury, NJ: Associated University Presses, c2003. (230
p.: ill.)
LC#: PQ239 .K72 2003; ISBN: 0874138353
Includes bibliographical references (p. 212-225) and index
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[Two useful essays in this collection deal with Crenne. Robert
D. Cottrell's "Helisenne de Crenne's Le Songe"
gives a detailed analysis of that work. Jerry C. Nash's "The
Fury of the Pen: Crenne, the Bible, and Letter Writing"
discusses Crenne's use in her letters of biblical sources to
defend women and to defeat her enemies.
(See the book's table of contents online.):]
Women writers in pre-revolutionary France: strategies of emancipation
/ edited by Colette H. Winn, Donna Kuizenga (Garland reference
library of the humanities; v. 1990. Women writers of the world;
v. 2). New York: Garland Pub., 1997. (xxx, 454 p.).
LC#: PQ149 .W64 1997; ISBN: 0815323670
Includes bibliographical references (p. 415-441) and index
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[Like his essay in the above collection, this article by Nash (available online) focuses on Crenne's use of biblical reference: here he shows Crenne creating, from biblical sources, both the misogynist letter attributed to her husband and her own letter of refutation. (See the issue's table of contents online.):]
Nash, Jerry C. Renaissance misogyny, biblical feminism
and Helisenne de Crenne's Epistres familieres et invectives.
Renaissance quarterly, 50 (1997), 379-410.
LC#:CB361 .R45; ISSN: 0034-4338
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[Another, later, essay by Nash, "Constructing Helisenne de Crenne: Reception and Identity," describes the contemporary and later reception of Crenne's work and discusses the origin of her pseudonym "Helisenne." (See the book's table of contents online.):]
Por le soie amiste: essays in honor of Norris J. Lacy / edited
by Keith Busby and Catherine M. Jones (Faux titre; no.183). Amsterdam;
Atlanta, GA: Rodopi, 2000. (xxxiv, 552 p.: port.)
LC#: PN681 .P67 2000; ISBN: 904200620X
Includes bibliographical references
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[This collection includes an essay by Catherine Randall, "Positioning Herself: A Renaissance-Reformation Diptych," which discusses Crenne and Charlotte de Mornay. One section, on Crenne's Angoysses (pp.201-18), discusses Crenne's revision of the male tradition of authorship, especially in her assumption of the male voice; Randall also makes a stylistic analysis of the novel's prose. (See the book's table of contents online.):]
Attending to early modern women / edited by Susan D. Amussen
and Adele Seeff; advisory editors, Jane Donawerth ... [et al.]
(Center for renaissance and baroque studies). Newark: University
of Delaware Press; London; Cranbury, NJ: Associated University
Presses, c1998. (338 p.: ill.)
LC#: PN721 .A88 1998; ISBN: 0874136504
Papers and summary reports of workshops of a symposium held Apr.
21-23, 1994, at the University of Maryland at College Park. Includes
bibliographical references and index
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[Katherine Ann Jensen's article sees the second and third parts of Angoysses as more important to Crenne's purpose as a writer than the more popular first part, because the later sections allow her to move away from the story of a sinful woman to the creation of an epic romance:]
Jensen, K.A. "Writing Out of the Double Bind: Female
Plot and Hélisenne de Crenne's Les Angoysses douloureuses
qui procedent d'amours." Oeuvres et critiques, XIX,
1 (1994), 61-67.
LC#: PQ2 .O35; ISSN: 0338-1900
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Updated 04-28-08