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The prologue to day three begins with the group engrossed in their devotional practice, led again by Oisille, who spent hours preparing the lesson. They attend mass, eat in moderation, and, when it comes time to meet in the meadow, Saffredent invites Parlamente to start off the stories to balance the negative story he told about a woman the previous day.
Story 21 tells of Rolandine, a relative of the queen who, at age 30, was still unmarried due to her father’s neglect and the queen’s dislike. A bastard of a good and noble family, “gallant and worthy” (236), forms a deep attachment to Rolandine, “[c]ompanions as they were in misfortune” (236). The queen forbids the couple from meeting as they are considered an unequal match, so they devise ways to meet privately. Declaring their love for one another, they decide to secretly marry but delay consummation until Rolandine’s father dies or she can obtain his approval. They continue meeting stealthily—speaking through facing windows in the palace, with letters passed by pages—until the queen discovers their affair and imprisons Rolandine, while her gentleman must flee or face death. Rolandine and the queen have a confrontation, and the former is eventually sent away to a remote castle to be isolated. Rolandine then discovers her husband’s love is not as true as hers, and he has been pursuing a rich German woman. Not long after, he dies, and she reconciles with her father. She marries a decent man, they have two sons, and, despite animosity from her brother, God provides, and they live a good life together.
The next story begins with a Benedictine Prior in Paris who had a saintly reputation until his 55th year, where he began to enjoy his comfortable celebrity—“to rather enjoy his treatment in spite of having originally scorned it” (255). He becomes self-indulgent and then infatuated with a nun named Marie Héroet. He thinks she is naïve and decides to frighten her into compliance with his passions, abusing and scolding her in front of others, then trying to touch her in private. She rebukes him, and he attacks her, but she screams, and the Abbess (who is her great-aunt) comes to her rescue. The Prior convinces the Abbess the girl simply fainted and then has the Abbess moved to a different convent. He continues to pursue her, and when she refuses him, he arranges two false accusers to say they witnessed her in lewd acts with the confessor. He then attempts to convince her to let him check her virginity, and he eventually leaves the convent in a rage, but not before ordering them to keep her essentially as a prisoner, with no contact with her family. Marie’s mother becomes concerned, and when her brother visits, Marie passes him a note detailing her entire ordeal with the Prior. The mother seeks help from the Queen of Navarre (Marguerite), who publicly shames the Prior and restores Marie’s reputation, appointing her Abbess of the Abbey of Gy.
A tragedy, Story 23 take place in Périgord, where a gentleman, who is devoted to the Franciscan order, regularly houses Franciscan friars in his home. His wife has just delivered a newborn boy, and she asks a visiting friar if it is a mortal sin for a man to sleep with his wife just after childbirth. The friar affirms this belief but relents later, saying if she has stopped bleeding, the husband can go to her after two o’clock in the morning. The friar sneaks into her room and sleeps with her (she believes he’s her husband), then flees into the night. When her husband comes to sleep with her, they both realize what happened, and she is devastated, having protected her honor until this point. The husband pursues the friar; the wife is so distraught that she hangs herself from the bed, and in doing so, her foot suffocates her son. Upon discovery of the bodies, her brother chases after the husband, thinking he was the cause of her suicide and mortally wounding him in a fight before hearing what really happened. Once all three are buried, the brother seeks and obtains forgiveness from King Francis I.
Story 24 takes place in the Castile region of Spain, where a fine gentleman named Elisor attracts the Queen’s attention, in part because he has no obvious love interest. She is relentless in questioning him, and he tells her the next time they go hunting, he will reveal his love to her. At the next hunt, Elisor attaches a mirror to his clothes, and while helping the Queen dismount, he opens his cloak so she can see herself in the mirror. When she comes to understand his meaning, he admits he has loved her for seven years, and she decides to test his love for another seven years, splitting a ring and sending him away with half. Seven years later, she is approached by a hermit who gives her a ring and a note and then disappears. From the poetry in the note, she is dismayed to learn that her rejection of Elisor drove him to become a hermit and that he eventually found a greater love in serving God. She searches for him everywhere, but he dies and goes to heaven before she finds him.
Story 25 is set in Paris, where the second wife of an older lawyer begins to get discouraged because he has not given her a child. One day at a wedding, she catches the eye of a Prince, and, given their mutual attraction, they make plans for him to visit her at night. The Prince goes to visit her one night and, creeping into the house, encounters the lawyer, who is as oblivious to the Prince’s purpose in the house as he is excited to host such an esteemed visitor. The Prince stays to chat for a bit, and on her advice, he goes to leave but instead hides in a dressing room to wait for her. She joins him after her husband falls asleep, and after this successful encounter they continue to meet regularly. The Prince begins to take a shortcut to her house through a monastery so regularly that the monks believe he is a man of great piety. When his sister hears of his new, pious reputation, she questions him, and they have a good laugh when she learns the truth.
Story 26 is set in the past during the time of Louis XII and tells of a 23-year-old lady who is married to an almost 50-year-old man. Although she makes an effort to live conservatively and conform to her husband, “she looked more like a widow than a married woman” (292), she eventually begins to fall in love with a 15-year-old named d’Avennes, whom her husband has taken under his wing as an adopted son. He feels the same, but to hide his affection he begins an affair with a woman in town, disguising himself as a Spanish stable boy so they can meet secretly while her husband is away. Though they are successful, the lack of sleep begins to take a toll on d’Avennes, who returns to his adoptive parents’ house in a state of illness. The lady notes his demeanor and helps him heal over the next two weeks, during which time their affection grows, and he begins to idealize her as “Virtue itself” (299). Eventually, he devises a trick to get her alone and attempts to enter her bed, but she refuses him, saying, “did you imagine that a chaste heart can be changed by opportunity?” (301). Despite her refusals, her passion for him grows, and the unrequited love makes her ill. D’Avennes comes to visit her on her deathbed, where she admits her love to him but dies a chaste woman. Both men mourn her, and while d’Avennes, now 18, goes to court, he mourns her for 10 years.
In Story 27, a chamberlain of the princess lives in Amboise with his wife, and one of his colleagues, the secretary, comes to stay with him for two weeks. The secretary decides to pursue the wife, who has the good sense to set a trap to expose him. She feigns interest in him and invites him to go to her room to wait for her, at which point she calls to him that she is going to ask her husband for permission, saying she’s sure “that you are too good a friend of his to want to say anything to me which you wouldn’t want repeated to him!” (308). The secretary is humiliated, and the husband pleased at his wife’s virtuous trick.
Story 28 is set in Paris, where a secretary to Marguerite de Navarre catches a merchant, Bernard de Ha, teaching the lieutenant’s maids a bawdy Gascon dance. The secretary blackmails the merchant into bringing him a Basque ham pie and uses the occasion to impress a love interest and some friends. However, the merchant is sly and tricks the secretary, giving him a “pie” that’s a baked wooden clog from Gascon. When the secretary goes to tell the lieutenant, Bernard de Ha has beaten him to it and only finds humiliation for trying to trick a Gascon.
In Story 29, a rich farmer marries a younger woman who takes multiple lovers since her husband cannot give her a child. Eventually she turns to the local parish priest, who is visiting her one day when the husband returns unexpectedly. The priest hides in a loft, and the wife proceeds to get her husband drunk at dinner so the priest can escape. When the husband falls asleep, the priest leans over to see if it is safe to make an escape but falls into the room along with a winnowing basket. Though the husband awakes, the quick-witted priest pretends he has come to return the basket and escapes scot-free.
Told by Hircan, Story 30 takes place in Languedoc, where a wealthy widow lives alone with her son. She vows never to remarry and becomes very religious, living strictly. Meanwhile, her teenaged son takes interest in a girl who sleeps in the mother’s room, making advances on her. When the girl complains to the mother, the latter does not believe her. However, she decides to find out for sure, taking the girl’s place at night to discover her son’s intentions. When her son comes to seduce the girl, she waits to see what he will do; unaware it’s his mother in bed, he joins her there, and the mother suddenly is swept away with passion, “so fragile was her nature, that her anger turned to pleasure, a pleasure so abominable, that she forgot she was a mother” (318). Giving in to this passion, she becomes pregnant by her son that night, and overcome with regret, she sends him away to live with relatives the next day.
She gives birth with the help of her half-brother, who takes the infant girl as his own. Eventually, her son asks permission to return home; she refuses him until he marries someone he loves, afraid of falling into the same sin again. By chance, he ends up falling in love with and marrying his own daughter, and when the lady hears of this, she goes to the Legate at Avignon for advice. They tell her to keep it a secret since they are innocent of the sin but that she must do lifelong penance. The couple lives happily ever after, “For she was his daughter, his sister, his wife. And he was her father, brother and husband” (320), while the mother can only weep at the sight of their happiness.
Now with the audience of the monks, the theme of the hypocrisy and wickedness of monks is all the more poignant and targeted. In contrast to the friendly invitation to join the group at the end of day two, the criticism leveled at the clergy in day three is more palpable when it is spoken aloud in their presence, openly challenging the Church’s authority and righteousness over the lives of the laity.
The first story of day three engages with the idea of noble, courtly love, but found in an unequal match. The same tropes of “pure” love are repeated here as elsewhere in The Heptameron: The lovers are deeply connected and promise themselves to each other but forego anything more than a kiss until their love can be social accepted. However, Rolandine has fallen for a man who is not of her social status, and ultimately his love is proven to be simple ambition. The narrative thus upholds the importance of marrying at the same social status; Rolandine’s marriage at the end is far more harmonious and solid than the noble love the bastard used to manipulate her. Likewise, the king and queen, both imperfect figures in this story, are proven to be right on the matter of her marriage to the bastard, despite the queen’s tyrannical behavior and irrational dislike for Rolandine.
Story 22 serves to demonstrate the reward given to those who are steadfast in their faith in God, as Marie is throughout the challenges she faces, and the punishment for those who exalt themselves, despite earlier piety. The Prior is a fallen man who began as a favorite of the Queen of Navarre (Marguerite herself) and who ends so shamed, he isolates himself and dies not long after. With the old way dying—illustrated by the Prior’s outrageous abuse of power—Marie becomes a broader symbol of change in the Church, notably reforming the Abbey she ends up governing.
Story 23 is a scathing criticism of the Franciscan order and the devastating effect corruption in the Church can have on the lives of decent people. On one hand, the storytellers argue for keeping the clergy at a distance and that this story is the natural result of them being given access to the most intimate and private spaces of married life. In fact, the husband is blamed for his total devotion to the “cult,” blindly allowing them access to his home. However, Oisille’s sharpest criticism is theological in nature, for the Franciscans taught the wife to practice “good works […] austerity of life, fasting and chastisement” but did not teach her about God’s divine forgiveness (271). As such, the woman is driven to suicide without realizing her sins could be forgiven. The real tragedy of the story is of a spiritual nature, ironically brought about by a corrupt man of God.
Like Stories 19 and 22, Story 24 demonstrates the power of faith, with spirituality providing a space of transcendence for the heartbroken and abused. In his letter to the queen, Time personified reveals to Elisor that beauty is worthless, while Cruelty leads him to happiness. It is through a lesser love for the queen that he finds “Love’s supremacy” in his new devotion to God. In turn, the queen suffers for her cruel capriciousness in sending a devoted servant into exile.
Story 25 has the appearance of being a simple, humorous tale in which the trickster becomes the tricked. Lawyers are known for bending the truth with rhetoric, so part of the humor is the lovers’ success in outsmarting the trickster. There is also a deeper criticism of the willingness to take a person at face value, where piety is assumed when reality is quite the opposite. In this case, the monks, considered spiritual models for the community, are incapable of recognizing true devotion, ultimately viewing the Prince as more holy and righteous than themselves.
Story 26 provides another variation on the virtue of chastity in a woman, with the lady of the tale functioning as a martyr for love. She presents a contrast to the “wanton” woman of the young lord’s first dalliance, for as much as she desires the young lord, she hides her desire and nobly dies of love rather than indulging in sin. The act, lauded by Oisille, however, sparks debate in the group as to whether it is worth it for a woman to die just to deny herself the pleasures she truly desires.
Stories 27, 28, and 29 are all told in the style of the fabliaux, comic tales featuring common farmers, tradesmen, and townspeople. While the moral of Story 27 is that decent people should be more discerning about whom they allow in their houses, “ugliness” is also central to the tale. The grotesque appearance of the man provides a point of humor in the style of Rabelais, particularly when his humiliation only augments his ugliness. Indeed, Simontaut questions whether it is truly virtue to reject a man so ugly, doubting any temptation possible. Ultimately, the inner corruption of the man symbolically manifests on the outside as well, when once his “vicious streak” was well hidden.
Filled with dancing, laughter, and a disgusting pie filled with a charred shoe, Story 28 continues the grotesque humor of the previous tale, with a similar battle of the wits between the secretary and the merchant. Both tales serve to illustrate the practical wit of the lower classes; however, they likewise underscore the superiority of those “brought up in noble circumstances […] surrounded by learned people” (312-13). In Story 29, the drunken dullness of the farmer contrasts with the wit of the parish priest, while the frivolous love affairs of the farmer’s wife provide more humor than a moral lesson. Grotesque storytelling allows the group to make a number of general assumptions about “simple folk”; first, it is unusual they would be preoccupied with love (for love is a noble pursuit), indulging in simple sexual appetites; second, they are just as capable of evil as the nobility, if not more so; and third, they are earthy, closer to nature, and enjoy their pleasures more than the nobility.
The amusing self-indulgence of the commoners contrasts sharply with the last story of the day, which presents a noblewoman whose extreme austerity leads her to unspeakable sin that only multiplies the more she seeks to abstain. The story serves as a lesson in moderation and temperance but also against too much faith in the self at the exclusion of God. For Parlamente, “the first step man takes trusting in himself alone is a step away from trust in God” (321), while Saffredent remarks, “if He does not hold us in His grip, we stumble and take great pleasure in so doing” (323). For the group, moderation is a partnership between the individual and God. Their criticism of the woman’s extreme attempt (and utter failure) to avoid sin also serves as an opportunity to criticize the Franciscans, who, according to Longraine, stupidly tempt themselves with beautiful women to see if they can resist the sin. As such, the unbalanced life—from continually testing oneself with temptation to extreme avoidance of sin entirely—will inevitably lead to the sin it is meant to deter.
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