Page:Of Six Mediaeval Women (1913).djvu/193

 the story, perhaps to evade identification, ends vaguely. But as we finish the story, we cannot help feeling that even if Christine's setting is fiction, she yet gives us a glance of real life. When Christine turned to her serious work in the cause of womankind, she began by attacking two books, Ovid's Art of Love, and The Romance of the Rose, both of which, in the Middle Ages, it was deemed wellnigh sacrilegious to decry. Her challenge, L'Epistre au Dieu d'Amours, took the form of an address to the God of Love, professing to come from women of all conditions, imploring Cupid's aid against disloyal and deceitful lovers, whose base behaviour she largely attributes to the false teaching of these two books. This argument appeared in 1399, and she soon discovered that she had stirred up a hornet's nest. But she had attacked advisedly and fearlessly, and was quite prepared for any counter onslaught. Her position was considerably strengthened by the alliance and co-operation of her staunch friend Gerson, the Chancellor, who himself, in the name of the clergy, took up arms against the flagrant scurrility to be found in the portion of The Romance of the Rose contributed by Jean de Meun. Other powerful allies joined the cause, and, to help to crystallise their efforts, species of "Courts of Love" were instituted, not alone for discourse on love, as heretofore, but also in the defence of women. All who united in this meritorious fellowship undertook to wear a distinctive badge,