^{page 567 note 1} V. W. A. R. Kerr, Le Cercle d'Amour, Publ. of the Mod. Lang. Ass., March, 1904, pp. 37 ff.

^{page 567 note 1} V. Christine de Pisan, Epistre au Dieu d'Amours, ed. Roy, 3 vols., Paris, 1896, vol. I, pp. 1 ff. V. also Gerson, Opera, 1706, iii, p. 297. Cf. also G. Gröber, Frauen im Mittelalter und die erste Frauenrechtlerin, Deutsche Rundschau, Dec., 1902.

^{page 567 note 2} Some recent studies in platonism are:

Abel Lefranc, “Le Platonisme et la Littérature en France à l'Époque de la Renaissance,” Rev. de l'Hist. Litt. de la France, 1886, pp. 1 ff.

Maulde La Clavière, Femmes de la Renaissance, Paris, 1898.

Jefferson B. Fletcher, “Précieuses at the Court of Charles I,” Journal of Comparative Literature, April-June, 1903.

J. S. Harrison, Platonism in English Poetry, New York, 1903.

W. A. R. Kerr, “Le Cercle d'Amour,” Publications of the Mod. Lang. Ass., March, 1904, pp. 33 ff.

^{page 567 note 1} Statements and applications of platonism might be adduced from an endless number of Italian authors; the following are a few:

Benivieni, Canzone, Amore, Opere, Venice, 1522.

P. Bembo, Asolani, Opere, vol. I, Milan, 1808. The Asolani dialogues were published in 1505 with numerous later editions. They were translated into French in 1545 by J. Martin. Book III is devoted to a statement of platonism.

Baldassare Castiglione, Il Cortegiano, ed. Cian, Florence, 1894. The first edition appeared in 1528; many others followed. The book was translated into French in 1537 by Jacques Colin d'Auxerre; it was frequently reprinted. The final chapters (lxv seq.) of Book IV are a magnificent eulogy of platonism.

Michelangelo, Vittoria Colonna, Tullia of Aragon, Giuseppe Betussi, Cosimo Rucellai and numberless others all give expression again and again to platonist ideas.

^{page 567 note 2} Cf. Heptameron, Nouvelle 24; Marguerites, ed. Frank, vol. iv, Mart et Résurrection D'Amour; Dernières Poésies, ed. A. Lefranc, Paris, 1896, Comédie Jouée au Mont Marson. These examples might be added to indefinitely. Cf. also A. Lefranc, Marguerite de Navarre et le Platonisme de la Renaissance, Paris, 1897.

^{page 567 note 3} Clément Marot, Ouvres, ed. Saint-Marc, vol. i, Rondeau xxxviii, p. 331, and Rondeau li, p. 338, and vol. ii, p. 32, Epigram lxxxvi.

^{page 567 note 1} Fontaine had a habit of taking up the cudgels on behalf of Cupid in distress: Le Triomphe et la Victoire d'Argent contre Cupido—Lyons, 1537—charged the ladies of Paris with yielding themselves rather for money than love, and Fontaine came to rescue of his fellow-townswomen with a gallant Response.

^{page 567 note 2} Abel Lefranc, “Le Tiers Livre du Pantagruel et la Querelle des Femmes,” Revue des Etudes Rab., vol. ii, nos. 1 and 2.

^{page 567 note 3} For some details regarding Heroët and his family v. Lucien Grou, “La Famille d'Antoine Heroët,” Rev. de l'Hist. Litt., 1899, pp. 277 ff. Cf. also Lucien Grou, “Nouveaux Documents sur Antoine et Louise Heroët,” Bulletin de la Société de l'Histoire de Paris et de l'Ile de France, 1899, pp. 88–94. The last-named bit of research contains a promise of another article on Heroët, but I have not been able to find it.

^{page 567 note 1} It is evident from Marot, ed. Saint-Marc, vol. II, p. 19, Epigram liv, that Marot, Scève and Heroët were all teasing the same girl at court. Marot and Heroët were also the joint authors of a little Chanson—the latter writing the first couplet and Marot the second; v. Marot, vol. i, p. 424, Chanson xli. In Marot's Eclogue au Roy of 1539, vol. i, p. 39, the playfully mentioned “Thony” is probably Antoine Heroët.

Rabelais mentions Heroët in the Prologue to Book V (ed. Des Marets et Rathery, vol. ii, p. 322). The name, it is true, is spelt “Drouet,” but it is altogether likely that it is, as is usually conjectured, a disfigurement of Heroët.

Ronsard mentions Heroët along with Scève and Saint-Gelais as being the honorable exceptions in his sweeping condemnation of pre-Pléiade poetry; v. Preface of 1550 to Book I of the “Odes,” ed. Blanchemain, 8 vols., Paris, 1857, vol. ii, p. 11.

Du Bellay refers to Heroët as an author whom his contemporaries were imitating; v. Défense el Illustration, Book I, chap. viii.

Other contemporary allusions to Heroët could be adduced, but the mentions of him already made indicate that though he is almost a stranger to the twentieth century, he was recognized by the men of his own time.

^{page 567 note 1} This idea is elaborated farther on, p. 37.

^{page 567 note 2} Understanding (entendement): the use of the word “entendement” indicates that the love under discussion is not of the senses, but intellectual. This is quite in accord with the accepted Renaissance platonic theories.

^{page 567 note 1} foys?

^{page 567 note 2} “La bouche baise:” We meet here the “platonic kiss,” that ecstatic “congiungimento d'anima” of which Castiglione writes in the Cortegiano (ed. Cian, Book IV, chap. lxiv).

Heroët's own patroness, Margaret of Navarre, speaks also in the Adieux, one of her most interesting and apparently most sincere poems, of the platonic kiss:

In the same poem Margaret refers also to the hand:

^{page 567 note 1} Jowett, Dialogues of Plato, 5 vols., London, 1892, climax of speech of Socrates, vol. i, p. 580 ff.

^{page 567 note 1} Cf. Les Adieux, Dernières Poésies, ed. Lefranc, p. 352, where Margaret speaks of allowing a man's attentions with the object of doing him good:

^{page 567 note 2} Pietro Bembo, Opere, 12 vols., Milan, 1808, vol. i, Asolani, p. 252-p. 254.