The writings of Marguerite are quite numerous, consisting of six moralities or comedies, a farce, epistles, elegies, philosophical poems, and the _Heptameron_, her principal work--a collection of prose tales in which are reflected the customary conversation, the morals of polite society, and the ideal love of the time. They are a medley of crude equivocalities, of the grossness of the _fabliaux_, of Rabelais, and of the delicate preciosity of the seventeenth century. Love is the principal theme discussed--youth, nobility, wealth, power, beauty, glory, love for love, the delicate sensation of feeling one's self loved, elegant love, obsequious love; perfect love is found in those lovers who seek perfection in what they love, either of goodness, beauty, or grace--always tending to virtue. Thoroughly to appreciate Marguerite d'Angoulême's position and influence and her contributions to literature, the conditions existing in her epoch must be carefully considered. It was in the sixteenth century that the charms of social life and of conversation as an art were first realized; all questions of the day were treated gracefully, if not deeply; woman began to play an important part, to appear at court, and, by her wit and beauty, to impress man. From the semi-barbaric spirit of the Middle Ages to the Italian and Roman culture of the Renaissance was a tremendous stride; in this cultural development, Marguerite was of vital importance. In intellectual attainments far in advance of the age, among its great women she stands out alone in her spirit of humanity, generosity, tolerance, broad sympathies, exemplary family life, and exalted devotion to her brother. Of the other literary women of the sixteenth century, mention may be made of two who have left little or no work of importance, but who are interesting on account of the peculiar form of their activity. Mlle. de Gournay, _fille d'alliance_ of Montaigne, is a unique character. Having conceived a violent passion for the philosopher and essayist, she would have no other consort than her honor and good books. She called the ladies of the court "court dolls," accusing them of deforming the French language by affecting words that had apparently been greased with oil in order to facilitate their flow. She was one of the first woman suffragists and the most independent spirit of the age. In 1592, to see the country of her master, she undertook a long voyage, at a time when any trip was fraught with the gravest dangers for a woman. She is a striking example of the effect of sixteenth-century sympathy, admiration, and enthusiasm; she was protected by some of the greatest literary men of the age--Balzac, Grotius, Heinsius; the French Academy is said to have met with her on several occasions, and she is said to have participated in its work of purifying and fixing the French language. Her adherence to the Montaigne cult has brought her name down to posterity.