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The reception history of Rondeau LXII reveals divergent views as to whether this poem belongs to the corpus of Christine’s poems on widowhood, or not. This article sheds light on these views by showing that Christine develops a distinctive type of imagery (imminent submersion, drowning) to engage with the experience of abandonment, either as fictional lover (Rondeau LXII) or as grieving widow (notably the Cent balades, Rondeaux, the Advision Cristine and the Mutacion de Fortune). Even though the manuscript tradition makes it clear that the poem does not belong to the widowhood corpus, the identical imagery linking Rondeau LXII to works of Christine specifically related to the handling of her husband’s death blurs the distinction between lover and widow. It thus becomes easier to understand why some readers have read Rondeau LXII as though it were part of the widowhood corpus.

Intratextual Echoes of Christine de Pizan’s Rondeau LXII