Like all those Valois, a worthy granddaughter of François I., she was learned. To the Poles who harangued in Latin she showed that she understood them by replying on the spot, eloquently and pertinently, without the help of an interpreter. She loved poetry and wrote it, and had it written for her by salaried poets whom she treated as friends. When she had once begun to read a book she could not leave it, or pause till she came to the end, “and very often she would lose both her eating and drinking.” But let us not forestall the time. She herself tells us that this taste for study and reading came to her for the first time during a previous imprisonment in which Henri III. held her for several months in 1575, and we are still concerned with her cloudless years.
She was married, in spite of her objections as a good Catholic, to Henri, King of Navarre, six days before the Saint-Bartholomew (August, 1572). She relates with much naïveté and in a simple tone the scenes of that night of horror, of which she was ignorant until the last moment. We see in her narrative that wounded and bleeding gentleman pursued through the corridors of the Louvre, and taking refuge in Marguerite’s chamber, and flinging himself with the cry “Navarre! Navarre!” upon her; shielding his own body from the murderers with that of his queen, she not knowing whether she had to do with a madman or an assailant. When she did know what the danger was she saved the poor man, keeping him in bed and dressing his wounds in her cabinet until he was cured. Queen Marguerite, so little scrupulous in morality, is better than her brothers; of the vanishing Valois she has all the good qualities and many of their defects, but not their cruelty.
After this half-missed blow of the Saint-Bartholomew, which did not touch the princes of the blood, an attempt was made to unmarry her from the King of Navarre. On a feast day when she was about to take the sacrament, her mother asked her to tell her under oath, truly, whether the king, her husband, had behaved to her as yet like a husband, a man, and whether there was not still time to break the union. To this Marguerite played the ingénue, so she asserts, apparently not comprehending. “I begged her,” she says, “to believe that I knew nothing of what she was speaking. I could then say with truth as the Roman lady said, when her husband was angry because she had not warned him his breath was bad, ‘that she had supposed all men were alike, never having been near to any one but him.’”
Here Marguerite wishes to have it understood that she had never, so far, made comparison of any man with another man; she plays the innocent, and by her quotation from the Roman lady she also plays the learned; which is quite in the line of her intelligence.
It would be a great error of literary judgment to consider these graceful Memoirs as a work of nature and simplicity; it is rather one of discrimination and subtlety. Wit sparkles throughout; but study and learning are perceptible. In the third line we come upon a Greek word: “I would praise your work more,” she writes to Brantôme, “if you had praised me less; not wishing that the praise I give should be attributed to philautia rather than to reason;” by philautia she means self-love. Marguerite (she will remind us of it if we forget it) is by education and taste of the school of Ronsard, and a little of that of Du Bartas. During her imprisonment in 1575, giving herself up, as she tells us, to reading and devotion, she shows us the study which led her back to religion; she talks to us of the “universal page of Nature;” the “ladder of knowledge;” the “chain of Homer;” and of “that agreeable Encyclopædia which, starting from God, returns to God, the principle and the end of all things.” All that is learned, and even transcendental.
She was called in her family Venus-Urania. She loved fine discourses on elevated topics of philosophy or sentiment. In her last years, during her dinners and suppers, she usually had four learned men beside her, to whom she propounded at the beginning of the meal some topic more or less sublime or subtile, and when each had spoken for or against it and given his reasons, she would intervene and renew the contest, provoking and attracting to herself at will their contradiction. Here Marguerite was essentially of her period, and she bears the seal of it on her style. The language of her Memoirs is not an exception to be counted against the mannerism and taste of her time; it is only a more happy employment of it. She knows mythology and history; she cites readily Burrhus, Pyrrhus, Timon, the centaur Chiron, and the rest. Her language is by choice metaphorical and lively with poesy. When Catherine de’ Medici, going to see her son, the Duc d’Anjou, travels from Paris to Tours in three days and a half (very rapid in those times, and the journey put that poor Cardinal de Bourbon, little accustomed to such discomfort, entirely out of breath), it is because the queen-mother is “borne,” says Marguerite, “on the wings of desire and maternal affection.”
Marguerite likes and affects all comparisons borrowed from fabulous natural history, and she varies them with reminiscences of ancient history. When, in 1582, they recall her to the Court of France, taking her from her husband and from Nérac, where she had then been three or four years, she perceives a project of her enemies to blow up a quarrel between herself and her husband during this absence. “They hoped,” she says, “that separation would be like the breaking of the Macedonian battalion.” When the famous Phalanx was once broken entrance was easy. This style, so ornate and figurative, usually delicate and graceful, has also its outspokenness and firmness of tone. Speaking of the expedition projected by her brother, the Duc d’Alençon, in Flanders, she explains it in terms of energetic beauty, representing to the king that “it is for the honour and aggrandizement of France; it will prove an invention to prevent civil war, all restless spirits desirous of novelty having means to pass into Flanders and blow off their smoke and surfeit themselves with war. This enterprise will also serve, like Piedmont, as a school for the nobility in the practice of arms; we shall there revive the Montlucs and Brissacs, the Termes and the Bellegardes, and all those great marshals who, trained to war in Piedmont, have since then so gloriously and successfully served their king and their country.”
One of the most agreeable parts of these Memoirs is the journey in Flanders, Hainault, and the Liège country which Marguerite made in 1577; a journey undertaken ostensibly to drink the waters of Spa, but in reality to gain partisans for her brother d’Alençon, in his project of wrenching the Low Countries from Spain. The details of her coquettish, and ceremonial magnificence, so dear to ladies, are not omitted:—
“I went,” says Marguerite, “in a litter with columns covered with rose-coloured Spanish velvet, embroidered in gold and shaded silks with a device; this litter was enclosed in glass, and each glass also bore a device, there being, whether on the velvet or on the glass, forty different devices about the sun and its effects, with the words in Spanish and Italian.”
Those forty devices and their explanation were an ever fresh subject of gallant conversation in the towns through which she passed. Amid it all, Marguerite, then in the full bloom of her twenty-fourth year, went her way, winning all hearts, seducing the governors of citadels, and persuading them to useful treachery. On this journey she meets with charming Flemish scenes which she pictures delightfully. Take, for example, the gala festival at Mons, where the beautiful Comtesse de Lalain (Marguerite, Princesse de Ligne), whose beauty and rich costume are described most particularly, has her child brought to her in swaddling-clothes and suckles it before the company; “which,” remarks Marguerite, “would have been an incivility in any one else; but she did it with such grace and simplicity, like all the rest of her actions, that she received as much praise as the company did pleasure.”