Christine de Pizan (1364-ca. 1431) was a peripheral member of the French king Charles VI’s court who wrote prolifically, producing 39 works from 1390 to 1431. Not confining herself to the traditionally feminine topics of health remedies, midwifery, and home management, Christine wrote about whatever piqued her wide-ranging interests: the art of warfare, the evils of civil war, and a biography of Charles V, commissioned by his brother, Jean, Duke of Burgundy. Several of her works found favor with many of the royal house and were dedicated to Louis d’Orleans, Philippe le Hardi, Duke of Burgundy and Isabeau de Baviere, among others. Nobles and merchants alike read Christine’s works avidly until the early seventeenth century.
After a period of obscurity, which lasted until the mid-eighteenth century, scholars rediscovered Christine for her part in the “Querelle de la rose,” a debate in which she criticized Jean de Meun’s continuation of Le Roman de la Rose for the character Genius’ use of “coillions,” a vulgarism for male genitalia as well as de Meun’s graphic depiction of the hero’s sexual attainment and impregnation of the heroine in the closing lines of the Roman. Jean de Montreuil, with Gontier and Pierre Col, prominent French scholars and defenders of Jean de Meun, harshly criticized Christine for her effrontery in maligning the masterpiece. Joined by Jean Gerson, Chancellor of the University of Paris, Christine renewed the debate in another series of letters, to which the defenders responded. They attacked Christine saying that she could not possibly understand the depth of the work with her small female mind, that she should remain quiet, and leave interpreting literature to the men.
Who was this woman who dared to argue with some of most influential intellectuals of her time? Christine was born in Venice to Tomasso de Pizzano, a graduate of the university in Bologna. Charles V of France hired Tomasso as his astrologer; in 1369, Tomasso brought his wife and young daughter, Christine to Paris. Although Tomasso taught Christine much about science, philosophy, and Latin, which is more than most women of her time learned, she laments that she did not learn more from her father, such as Greek, and that custom decreed that she learn more about spinning than about science (L’avision 161-162; Cité II:36:4; Mutacion 1:413-419).
In 1379, at age fifteen, Christine married Estienne du Castel, a court secretary. Their marriage seems to have been unusual, not only because they had a real affection for one another, but because Christine shared Estienne’s work, also working as a copyist at the court. However, Christine’s happy married life was short-lived. Her father died about 1387, shifting the support of her mother and two younger brothers to Christine. In the fall of 1390, Estienne died of a fever while traveling with the court. At age twenty-five, Christine became the sole support for her three young children, as well as her mother; some accounts include a niece as well. Both Tomasso’s and Estienne’s legacies were in dispute; Christine spent fourteen years fighting in the law courts over their debts and past wages. During this period, Christine began to study, while writing love poems and confessional poetry, for which she received patronage from various members of the royal family. After several years of study, Christine began to write her longer prose works of social criticism, political treatises, didactic works, and histories.
Drawing on her background as a copyist, Christine started a publishing house or copyist shop, employing several copyists and illuminators. Two of her illuminators became known by the titles of her works they embellished: one is the Othéa Master; the other is the Cité des dames Master (Meiss 9, 12) As Christine weathered the lawsuits and became more proficient at running her shop, she came to feel that in some ways she was becoming a man. She describes this transformation in Mutacion de Fortune in an autobiographical digression. Lines 1332-1397. Proud of her Italian heritage, Christine often describes herself as “une Italienne,” footnote? She maintained her fluency and interest in Italian language and literature, and was instrumental in bringing knowledge of Dante’s works to France.
 “Di santo sdegno similmente accendevasi quella valentissima donna a cui appartiene il vanto d’aver rivelato Dante alla Francia, Christine de Pisan.”Farinelli, Arturo. Dante e la Francia: dall’età media al secolo di Voltaire.” Genève : Slatkine, 1971, reimpression de l’edition de Milan, 1908., v. 1, pp.150-151.