By Marie le Jars de Gournay, Richard Hillman, Colette Quesnel
This quantity provides translations of 4 of Gournay's works that handle feminist concerns. of those seem the following in English for the 1st time—The prom of Monsieur de Montaigne and The Apology for the girl Writing. one of many first sleek mental novels, the best-selling Promenade used to be additionally the 1st to discover lady sexual feeling. With the autobiographical Apology, Gournay defended each point of her existence, from her ethical behavior to her family administration. The publication additionally contains Gournay's final revisions (1641) of her best-known feminist treatises, The Equality of fellows and Women and The women' Complaint. The editors offer a normal evaluation of Gournay's profession, in addition to person introductions and huge annotations for every work.
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Apart from her ongoing editorial labors, she produced several new versions of the Promenade, which had met with considerable success. She continued composing and publishing her poetry, which appeared in a number of anthologies between 1613 and 1644, as well as translating from the classics. Especially notable is a 1619 collection of excerpts from Virgil, Tacitus, and Sallust, but there were separately published versions of Ovid, Cicero, and, again, Tacitus and Sallust. She worked continually on the essays that form the bulk of her oeuvre.
Maria Gornacensis, quam Montanus / ille filiam Justus Lipsius adeoque omnes / docti sororem agnoverunt” (cited in Ilsley, A Daughter of the Renaissance, 262). 22. In La Fille d’alliance de Montaigne, Marie de Gournay (1910; reprinted, Geneva, 1978). 23. See the survey by Dezon-Jones, “Marie le Jars de Gournay,” 204–5; cf. Ilsley, A Daughter of the Renaissance, 269–77. 24. Paul Bonnefon, Montaigne et ses amis: La Boétie, Charron, Mlle de Gournay, 2 vols. (1898; reprinted, Geneva, 1969). 17 18 Introduction to Gournay to Montaigne, who was himself now coming into vogue after relative neglect.
Gournay’s most distinctive contributions bear on the movement of the narrative and on the representation of the characters. In the first category, there are two main effects, which attest a determination to guide the reader’s reception of the romance plot: at numerous points, the author either comments directly on the story or interpolates classical citations within it— equally a form of commentary. The most notable of the former instances is a “digression” that not only interrupts the action at its most dramatic moment (as Alinda is preparing for her death) but even threatens to eclipse it by extending to about a quarter of the entire text.