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Gothic fantasy is similarly displaced and transformed at the end of The Lady of the House of Love by twentieth-century history and the real enough horrors of the first-world war.

But it is the Count who has the last laugh, since the young man is off to a bloody war. As such, the vampire illustrates the dynamics of retelling at work in the fairy tale tradition itself, endlessly reinvented through new combinations of characters, motifs, and images as well as cross-generic and intermedial transpositions.

Historically, these genres are indeed interrelated, since the reception of French fairy tales in England influenced the development of Gothic fiction, out of which melodrama notoriously emerged This perversion is represented by the anthropophagous Beane family in Vampirella , as well as its well-known variation, vampirism, in both the radio play and the short story. Reformulation as she called it thus becomes a key strategy of rewriting that enables Carter to explore the potential for revival and renewal of formulaic sub genres Thus, the performative function of language is not only thematized in La Belle au bois dormant in the opening scene of the cursing of the newly-born baby but also enacted in the very text of the tale, to the point that the boundaries between prey and predator, story and discourse, are blurred.

Ackerman in , and the subculture of comic books and Hammer films so popular in the s. Courtesy of Dynamite Entertainment. Her heroine is accordingly inspired by the sexy comic-strip vamp filtered through the dark glamour of the Baudelairian vampire — decadent, artificial, macabre, moody, melodramatic, sensuous, sophisticated and self-consciously theatrical fig. Hence the appropriateness of the metaphor popularized by the surrealists to celebrate the creative potential of incongruous juxtapositions that awaken all kinds of associations and free up repressed images and new meanings, which perfectly applies to her own creative method.

In this vampire context, of course, the wine is red. Ballestra-Puech , Sylvie, Les Parques. Avec des Moralitez , ], Contes , ed. She goes on to quote from T. See D. Perrault, Contes , p. Punter, The Literature of Terror , p. Carter, The Lady of the House of Love , p. The association of text and music, and its metafictional implications, are discussed by S.

Like Nora who disobeys her prescribed role in patriarchal, bourgeois society, Vampirella and the Countess escape from their own cage never to return. See E. The side of the Reformation which must have most appealed to her was neither its austere morals, nor its bare ritual, nor its doctrines, properly so called, but its spiritual pietism and its connection with profane learning and letters; for of literature Margaret was an ardent devotee and a constant practitioner.

Her best days were done by the time of her second marriage. She was herself in some danger, but Francis had not sunk so low as to permit any actual attack to be made on her. Her husband appears to have been rather at variance with her; and her daughter, who married first, and in name only, the Duke of Cleves in , and later Anthony de Bourbon, was also not on cordial terms with her mother. Her nephew Henry left her in possession of her revenues, but does not seem to have been very affectionately disposed towards her; and even had she been inclined to attempt any recovery of influence, his wife and his mistress, Catherine de Medici and Diana of Poitiers, two women as different from Margaret as they were from one another, would certainly have prevented her from obtaining it.

She survived it two years, even as she had been born two years before him, and died on the 21 st December , at the Castle of Odos, near Tarbes, having lived in almost complete retirement for a considerable time. Her husband is said to have regretted her dead more than he loved her living, and her literary admirers, such of them as death and exile had spared, were not ungrateful.

This was re-issued in French and in a fuller form later. Some reference has been made to an atrocious slur cast without a shred of evidence on her moral character. There is as little foundation for more general though milder charges of laxity. It is admitted that she had little love for her first husband, and it seems to be probable that her second had not much love for her. She was certainly addressed in gallant strains by men of letters, the most audacious being Clement Marot; but the almost universal reference of the well-known and delightful lines beginning—.

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It may be added that the whole tone of the Heptameron points to a very similar conclusion. Her literary work was very considerable, and it falls under three divisions: letters, the book before us, and the very curious and interesting collection of poems known by the charming if fantastic title of Les Marguerites de la Marguerite des Princesses , a play on the meanings, daisy, pearl, and Margaret, which had been popular in the artificial school of French poetry since the end of the thirteenth century in a vast number of forms.

They show her to us in all these capacities, and also in that of an enlightened and always ready patroness of letters and of men of letters. Further, they are of value, though their value is somewhat affected by a reservation to be made immediately, as to her mental and moral characteristics. But they are not of literary interest at all equal to that of either of the other divisions. Something of the same evil influence is shown in the Marguerites. The contents of the Marguerites , to take the order of the beautiful edition of M. Opinion as to these poems has varied somewhat, but their merit has never been put very high, nor, to tell the truth, could it be put high by any one who speaks critically.

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In the first place, they are written for the most part on very bad models, both in general plan and in particular style and expression. The plan is, as has been said, taken from the long-winded allegorical erotic poetry of the very late thirteenth, the fourteenth, and the fifteenth centuries—poetry which is now among the most difficult to read in any literature.

The groundwork or canvas being transferred from love to religion, it gains a little in freshness and directness of purpose, but hardly in general readableness. Of La Coche , what has been said of the long sacred poems may be said, except that here we go back to the actual subject of the models, not on the whole with advantage: while in the minor pieces the same word plays and frigid conceits are observable.

But if this somewhat severe judgment must be passed on the poems as wholes, and from a certain point of view, it may be considerably softened when they are considered more in detail. Again, the Bergerie included in the Nativity comedy or mystery, though something of a Dresden Bergerie to use a later image , is graceful and elegant enough in all conscience. In the former her love, not merely for her brother, but for her husband, appears unmistakably, and suggests graceful thoughts.

In the latter the force and fire which occasionally break through the stiff wrappings of the longer poems appear with less difficulty and in fuller measure. It is, however, undoubtedly curious, and not to be explained merely by the difference of subject, that the styles of the letters and of the poems, agreeing well enough between themselves, differ most remarkably from that of the Heptameron.

The two former are decidedly open to the charges of pedantry, artificiality, heaviness. There is a great surplusage of words and a seeming inability to get to the point. It is, therefore, not wonderful that there has, at different times rather less of late years, but that is probably an accident , been a disposition if not to take away from Margaret all the credit of the book, at any rate to give a share of it to others.

In so far as this share is attempted to be bestowed on ladies and gentlemen of her Court or family there is very little evidence for it; but in so far as the pen may be thought to have been sometimes held for her by the distinguished men of letters just referred to there is no reason why Master Francis himself should not have sometimes guided it , and by others only less distinguished, there is considerable internal reason to favour the idea.

The book, as we have it, consists of seven complete days of ten novels each, and of an eighth containing two novels only.

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The fictitious scheme of the setting is somewhat less lugubrious than that of the Decameron , but still not without an element of tragedy. So they scattered in different directions, most of them taking the Spanish side, either along the mountains and across to Roussillon or straight to Barcelona, and thence home by sea. But a certain widow, named Oisille, made her way with much loss of men and horses to the Abbey of Notre Dame de Serrance.

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Here she was joined by divers gentlemen and ladies, who had had even worse experiences of travel than herself, with bears and brigands, and other evil things, so that one of them, Longarine, had lost her husband, murdered in an affray in one of the cut-throat inns always dear to romance. Besides this disconsolate person and Oisille, the company consisted of a married pair, Hircan and Parlamente; two young cavaliers, Dagoucin and Saffredent; two young ladies, Nomerfide and Ennasuite; Simontault, a cavalier-servant of Parlamente; and Geburon, a knight older and discreeter than the rest of the company except Oisille.

These form the party, and it is to be noted that idle and contradictory as all the attempts made to identify them have been for instance, the most confident interpreters hesitate between Oisille and Parlamente, an aged widow and a youthful wife, for Margaret herself , it is not to be denied that the various parts are kept up with much decision and spirit.

The others, except that Geburon is, as had been said, older than his companions, and that Simontault sighs vainly after Parlamente, are merely walking gentlemen of the time, accomplished enough, but not individual. Oisille is, as our own seventeenth-century ancestors would have said, ancient and sober, very devout, regarded with great respect by the rest of the company, and accepted as a kind of mistress both of the revels and of more serious matters, but still a woman of the world, and content to make only an occasional and mild protest against tolerably free stories and sentiments.

Longarine is discreetly unhappy for her dead husband, but appears decidedly consolable; Ennasuite is a haughty damsel, disdainful of poor folk, and Nomerfide is a pure madcap, a Catherine Seyton of the generation before Catherine herself, the feminine Dioneo of the party, and, if a little too free-spoken for prudish modern taste, a very delightful girl. Now when this good company had assembled at Serrance and told each other their misadventures, the waters on inquiry seemed to be out more widely and more dangerously than before, so that it was impossible to think of going farther for the time.

They deliberated accordingly how they should employ themselves, and, after allowing, on the proposal of Oisille, an ample space for sacred exercises, they resolved that every day, after dinner and an interval, they should assemble in a meadow on the bank of the Gave at midday and tell stories.

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The device is carried out with such success that the monks steal behind the hedges to hear them, and an occasional postponement of vespers takes place. Simontault begins, and the system of tale-telling goes round on the usual plan of each speaker naming him or her who shall follow. It should be observed that no general subject is, as in the Decameron , prescribed to the speakers of each day, though, as a matter of course, one subject often suggests another of not dissimilar kind. From what has been said already, it will be readily perceived that the novels, or rather their subjects, are not very easy to class in any rationalised order.

Another large division, trenching somewhat upon the first, is composed of stories to the discredit of the monks something, though less, is said against the secular clergy , and especially of the Cordeliers or Franciscans, an Order who, for their coarse immorality and their brutal antipathy to learning, were the special black or rather grey beasts of the literary reformers of the time.

In a considerable number there are references to actual personages of the time—references which stand on a very different footing of identification from the puerile guessings at the personality of the interlocutors so often referred to. There are a few curious stories in which amatory matters play only a subordinate part or none at all, though it must be confessed that this last is a rare thing. In so large a number of stories with so great a variety of subjects, it naturally cannot but be the case that there is a considerable diversity of tone. But that peculiarity at which we have glanced more than once, the combination of voluptuous passion with passionate regret and a mystical devotion, is seldom absent for long together.

For love of him she had returned to France, and, visiting his own country of Gascony, had attached herself to the Court of Margaret, where she had died. And it happened that Bourdeilles, six months afterwards, and having forgotten all about his dead love, came to Pau and went to pay his respects to the Queen.

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He met her coming back from vespers, and she greeted him graciously, and they talked of this matter and of that. But, as they walked together hither and thither, the Queen drew him, without cause shown, into the church she had just left, where Mademoiselle de la Roche was buried. And since our souls have sense after our death, it cannot be but that this faithful one, dead so lately, felt your presence as soon as you came near her; and if you have not perceived it, because of the thickness of the tomb, doubt not that none the less she felt it.