The only really well-authenticated love intrigue in which Margaret was concerned—and in that she played a remarkably virtuous part—was her adventure with the Admiral de Bonnivet, upon which the fourth story of the Heptameron is based. (1) She was certainly unfortunate in both her marriages. Her life with the Duke of Alençon has already been spoken of; and as regards her second union, although contracted under apparently favourable auspices, it failed to yield Margaret the happiness she had hoped for. But four years after its celebration she wrote to the Marshal de Montmorency: “Since you are with the King of Navarre, I have no fear but that all will go well, provided you can keep him from falling in love with the Spanish ladies.” (2) And again: “My nephew, I have received the letters you wrote to me, by which I have learnt that you are a much better relation than the King of Navarre is a good husband, for you alone have given me news of the King (Francis) and of him, without his being willing to give pleasure to a poor wife, big with child, by writing a single word to her.” (3)

1 Particulars concerning this adventure will be found in
the notes to Tale iv., and also in the Appendix to the
present volume (C).
2 Lettres de Marguerite, &c., p. 246.
3 Ibid., p. 248.

In another letter written to the Marshal at the same period she says: “If you listen to the King of Navarre, he will make you commit so many disorders that he will ruin you.” (1) Perhaps these words should not be taken literally; still they furnish cause for reflection when it is remembered that they were written by a woman just turned forty concerning her husband who was not yet thirty years old.

Margaret’s views upon love and the affinity of souls were somewhat singular, but they indicate an elevated and generous nature. In several passages of the Heptameron she has expressed her opinion on these matters, ardently defending the honour of her sex and condemning those wives who show themselves indulgent as regards their husbands’ infidelities. (2) She blames those who sow dissension between husbands and wives, leading them on to blows; (3) and when some one asked her what she understood perfect love to be, she made answer, “I call perfect lovers those who seek some perfection in the object of their love, be it beauty, kindness, or good grace, tending to virtue, and who have such high and honest hearts that they will not even for fear of death do base things that honour and conscience blame.”

1 Lettres de Marguerite, &c, p. 251.
2 Epilogue of Tale xxxvii.
3 Epilogue of Tale xlvi.

In reference to this subject of conjugal fidelity a curious story is told of Margaret. One day at Mont-de-Marsan, upon seeing a young man convicted of having murdered his father being led to execution, she remarked to those about her that it was very wrong to put to death a young fellow who had not committed the crime imputed to him. It was pointed out to her that the judges had only condemned him upon conclusive proofs and the acknowledgments that he himself had made. Margaret, however, persisted in her remark, whereupon some of her intimates begged of her to justify it, for it seemed to them at least singular. “I do not doubt,” she replied, “that this poor wretch killed his mother’s husband, but he certainly did not kill his own father.” (1)

Besides being unfortunate as regards her husbands, Margaret was also denied a mother’s privileges. She experienced great suffering at her confinements, (2) and on two occasions she was delivered of still-born infants of the female sex.

1 Gabriel de Minut’s De la Beauté, Discours divers, &c.,
Lyons, 1587. p. 74.
2 Nouvelles Lettres de Marguerite, pp. 84 and 93.

She had centred many hopes upon her little boy, John, of whom she was confined without accident, but he died, as already stated, in infancy, and this misfortune was a great shock to her, though she tried to conceal it by having the Te Deum sung at the funeral in lieu of the ordinary service, and by setting up in the streets of Alençon the inscription, “God gave him, God has taken him away.” However, from that time forward she never laid aside her black dress, though later on she wore it trimmed with marten’s fur. Her best known portrait (1) represents her attired in this style with the quaint Bearnese cap, which she had also adopted, set upon her head.

1 Bibliothèque Nationale, Recueil de Portraits au crayon,
&c., fol. 46.