Citation

Rouillard LM. FORUM FOR MODERN LANGUAGE STUDIES 2003; 39(1): 15-26.

Copyright

(Copyright © 2003, Oxford University Press)

DOI

10.1093/fmls/39.1.15

PMID

unavailable

Abstract

In Jacques Yver's Le Printemps d'Yver (1572), the traditional allegory of love as a battle is set against the backdrop of the Wars of religion in France. Yver's framing characters tell stories to "prove" one sex or the other is the cause of all suffering in love. The tale of Day Two includes the story of the rape of a drugged Fleurie by Ponifre, who then offers to save her by marrying her and raising the resulting child. He divulges his crime when he is drunk and Fleurie then commits suicide. The medieval misogyny and medical beliefs underlying this tale are reinforced in the discussion that follows by the framing characters: because of the conception of a child, Fleur d'Amour refuses to believe Fleurie was truly the victim of rape. His defence of Ponifre recalls the narrator's defence of France's defamed literary prestige and reputation. Both Ponifre's honour and France's national honour must be restored. In addition, Fleurie's subsequent suicide recalls the hostess's song from the prologue to Day One's story in which France is depicted as about to commit suicide, personifying the effect of the Wars of Religion. Pursuing this connection between sexuality and war, this tale of rape and suicide, embedded in a framing story with similar interests, re examines the religious conflicts. © 2003 Forum for Modern Language Studies.

Language: en