England, and it is to her credit that loyalty to the earl’s memory among other reasons made her obdurate. In order, however, to get back her son she feigned compliance until he was sent to fetch her, when she kept him with her and remained in France.[15] Before this she had entered on the second stage of her literary career, to which the “Épître d’Othéa” most probably belongs. In 1399 she resolved to attempt longer and more serious poems, animated by a more or less definite moral purpose, and she began by preparing herself for this task by a strenuous course of study, as nearly encyclopædic in character as was then possible, though there is no reason to suppose that she was acquainted with Greek authors except through Latin translations. But her earliest poems of any length, issued between 1399 and 1402, were still of the nature of “Dits d’Amour.” Such, for example, were the “Épître au dieu d’amour” and the “Dit de la Rose,” the “Débat de deux amants,” the “Dit de Poissy,” with its lively account of her visit in 1400 to Poissy Abbey, where her daughter was a nun, and the idyllic “Dit de la pastoure.”[16] The first two of these poems were written in defence of women against the aspersions of Jean de Meun in the “Roman de la Rose” and his school, and they involved her in a protracted controversy, in which with the valuable support of Jean Gerson she fully held her own. The moralizing element is much more strongly developed in the “Chemin de long estude,”[17] and the “Mutation de Fortune,”[18] which were composed in 1402 and 1403. In the earlier of these somewhat prolix, but withal extremely interesting, works Christine is conducted by the Sibyl Amalthea through the known world,[19] and then ascends with her as far as the fifth heaven. After recounting these experiences she proceeds to inculcate doctrines of right and justice by means of an elaborate allegory, in which Raison, Sagesse, Noblesse, Chevalerie, and Richesse play the leading parts, room being also found for a glowing eulogy of Charles V. In the “Mutation de Fortune” she again indulges her taste for allegory, but in place of geography and astronomy other sciences have their turn. The introduction, which is rich in personal interest, deals with her father’s life and her own and then leads up to her dream or vision of the great “Chastel de Fortune.” This castle is in fact the world, and those who lodge in it are the various classes of mankind, who from pope and king downwards are vividly characterized; while the subjects painted on the walls of the hall give occasion for summaries of philosophy and of universal history to the birth of Christ, followed by allusions to more recent events and by another tribute to the virtues of Thomas de Pisan’s royal patron. On 1st January, 1403–4, Christine presented this poem as a new-year’s gift to Philip, Duke of Burgundy, brother of Charles V. The immediate result was a commission to write the