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 from Christine's pen that it is no easy task to make a fair selection. One of the most significant, since it deals with a subject which permeated mediæval thought, and on which she was wont to dwell, is La Mutation de fortune, "Fortune more inconstant than the moon," says Christine. In it she writes with her heart in her hand, as it were, telling first of the sore havoc Fortune has wrought amongst those most dear to her. Yet though her own heart has been torn on the Wheel of Fortune, she stands before her fellow sufferers like some figure of Hope pointing upward, where, she says, wrong is surely righted. And thus she turns to the world in general, not in the spirit of the pessimist, but rather in that of the philosopher. She well knows that Fortune is no blindfolded goddess turning writhing humanity on a wheel, but a something rooted in ourselves, and she has pity for "la povre fragilité humaine." Though so independent and advanced in thought, she is still found clinging in her writings to mediæval forms. As a setting for her thoughts on Fortune's changes, she makes use of the favourite simile of a castle—here the Castle of Fortune—as representing the world, wherein the rich and the poor, the strong and the weak, jostle one another. She criticises all men, from the prince to the pauper, but not women, since these have been sufficiently criticised and decried. It is like the prelude to a Dance of Death. Then she tells of the paintings on the walls of this imaginary