Open Access«Vrayment voicy de plaisans fous»: la folie dans le théâtre profane de Marguerite de Navarre
Author(s) -
Barbara Marczuk
Publication year - 2002
Publication title -
renaissance and reformation
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.1
H-Index - 5
eISSN - 2293-7374
pISSN - 0034-429X
DOI - 10.33137/rr.v38i4.8837
Subject(s) - mysticism , erasmus+ , soul , art , spirituality , the renaissance , sublime , rapture , philosophy , poetics , literature , humanities , dialectic , art history , theology , poetry , medicine , alternative medicine , pathology
This study shows that the dialectics of wisdom and folly, which owes a great deal to the relativization of reason in Renaissance culture, undergoes an original development in Marguerite de Navarre’s “secular” theater. While in these plays Marguerite uses figures of folly which inscribe themselves in the tradition represented by the late-medieval wordly fool, or Erasmus’s wise fool, she also creates the figure of the spiritual fool, who draws from both divine science and mystical ecstasy. The protagonists of four of Marguerite’s plays, Le Mallade, L’Inquisiteur, Trop, Prou, Peu, Moins, and the Comédie jouée au Mont de Marsan (written between 1535 and 1547), embody spiritual folly to an increasingly sublime degree, from the docta ignorantia up to mystic rapture. This exceeds, however, not only Erasmus’s conception but also that of the spiritual influences on the queen (Guillaume Briçonnet, Marguerite Porete) and appears to be her own invention, by means of which she expresses the most radical spiritual aspirations of a soul in search of God.