Enchanted Eloquence: Fairy Tales by Seventeenth-Century French Women Writers (review)

Enchanted Eloquence: Tales by Seventeenth-Century French Women Writers. Edited and translated by Lewis C. Seifert and Domna C. Stanton. Toronto: Centre for Reformation and Renaissance Studies, 2010. With Enchanted Eloquence: Tales by Seventeenth-Century French Women Writers, Lewis C. Seifert and Domna C. Stanton offer a collection of eight French fairy translated into English; most have never been translated before. The book is divided into three main sections: the Editors' Introduction, Fairy Tales by Seventeenth-Century Conteuses, and the Critical Texts on the Contes de Fees. Seven black and white illustrations are also included, mostly frontispieces and portraits. Even though only eight fairy are presented in this volume, the useful appendix lists the English titles of the sixty written at that time by Marie-Catherine le Jumel de Barneville, Baronne d'Aulnoy; Louise de Bossigny Comtesse d'Auneuil; Catherine Bernard; Catherine Bedacier Durand; Charlotte-Rose de Caumont de La Force; Marie -Jeanne LHeritier de Villandon; and Henriette-Julie de Castelnau, Comtesse de Murât. The Editors' Introduction presents an informative and well-researched summary of the fairy-tale genre with its cultural and literary context during the Louis XIV era, as well as an account of the voice and empowerment of the conteuses (female storytellers). The introduction also analyzes the critical reception of the across the centuries. General but nonetheless instructive, the introduction furnishes a wonderful overview of the fairy-tale genre in seventeenth-century France. The strength of the introduction lies in the analytic and enlightening manner in which the editors review and explore the literary fairy tale's vogue. The genre, Seifert and Stanton remind us, is primarily dominated by female writers, as two-thirds of the were produced by women (3). However, there was also a group of male authors, Charles Perrault being the most well-known (although his display a different style from his contemporaries). The editors reveal how the literary probably appeared in the mid-seventeenth-century salons and how this community of women created a new genre at a time when France was economically challenged and experiencing a return to religious piety. Often combining oral folklore and entirely new pieces, the contes de fees were the product of a fertile creativity from women who invented a tradition with their own fairy (15). Seifert and Stanton emphasize that this newly created literary production included elements of refined and privileged comportment belonging to an elite society, thus distinguishing the conteuses' from the popular and lowly milieu. Based on the marvelous, the contes also incorporate references to the upperclass society, such as theater, opera, and contemporary mores, thereby positioning the contes de fees as a modern genre. Indeed, the editors detail the context in which the seventeenth-century were created at the peak of the quarrel of the Ancients and the Moderns. Far from being a recycled genre, the fairy were the voice of the conteuses affirming their belonging to a male-dominated society and their empowerment by means of their female characters, who were often active and in charge of their destiny. Noting that the conteuses called themselves modern fairies, Seifert and Stanton affirm that these tales are both about and by fairies (27). Through their leading female characters, the conteuses present alternatives and options for women in love, marriage, and governance, for instance. Seifert and Stanton conclude their detailed introduction with a section on the reception of the fairy tales. A few critics have commented on the vogue of this new literary genre led by women writers and their use of unrealistic elements in their stories. The editors inform us that Jean-Baptiste Morvan de Bellegarde, Pierre -Valentin Fay dit, and Abbe de Villiers were the main critics of the conteuses at the time. …

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