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Content Warning: This section of the guide includes discussion of death, child death, animal death, and physical and emotional abuse.
On a small island in New France, the exiled Marguerite de la Rocque de Roberval sees three large ships pass by. She tries to get their attention, but the ships sail on, deliberately ignoring her.
Marguerite, at nine years old, lives with her nurse Damienne at Perigord chateau in France. Her mother died in childbirth and her father died in battle. She has no close relatives, only a guardian—her father’s cousin, Jean-Francois de la Rocque de Roberval—who oversees her inheritance until she comes of age and weds. Damienne tells Marguerite grand stories about her parents, and she teaches the young girl how to behave like a lady, though Marguerite prefers to run wild around the chateau.
One day, Roberval visits Perigord. Roberval is a voyager, so Marguerite hardly ever sees the man. Roberval greets the women in the great hall, and Damienne trembles in his presence. Roberval looks Marguerite over, but an ornate trinket cabinet catches Marguerite’s attention. Roberval shows her the cabinet and gives her a small pile of gold. Marguerite wishes Roberval would give her the whole cabinet, but he dismisses her and instructs her to improve her reading and writing.
Marguerite and Damienne return to their quarters. Damienne is grateful Roberval didn’t separate them, but Marguerite only thinks about the cabinet. Damienne plans to use the gold to hire teachers and purchase gowns, a virginal, and a bird for the young girl.
Years pass, and Marguerite slowly improves her writing and musical abilities. Her teacher, Madame Jacqueline D’Artois, lives at Perigord with her daughter Claire. Claire, a modest girl around Marguerite’s age, keeps her distance from Marguerite, and Marguerite envies Claire’s diligence—but more deeply she envies the girl’s relationship with her mother. One night, Marguerite confesses her jealousy to Damienne, and Damienne instructs Marguerite to follow Claire’s example to improve herself.
Marguerite takes this advice and works diligently and uncomplainingly. The women make an altar for the Virgin Mary, and Marguerite secretly pretends the Virgin is her own mother. Claire tells Marguerite about her own father’s death, and she shares stories from her time at Queen Marguerite of Navarre’s court. Marguerite laments that she doesn’t have sisters, but she and Claire soon become inseparable. The family of Marguerite’s betrothed send questions to Roberval, and Marguerite secretly hopes Roberval’s voyage to sea will delay his response. However, Roberval returns to France, and Marguerite worries she will be separated from Claire.
Marguerite puts on her best gown to meet Roberval in the great hall. She quickly explains her improvements. Roberval inspects Marguerite’s ruby ring and declares she is too young to marry. Claire suspects Roberval has ulterior motives for delaying Marguerite’s marriage because she knows he lost much of Marguerite’s fortune on a recent sea voyage. Roberval mortgages Perigord to a merchant family, the Montforts, so Marguerite moves into the cold north tower. Damienne tries to remain patient, but Marguerite is deeply disturbed by Roberval’s misuse of her money.
To cheer the girls up, Madame D’Artois reads to them from the book of ladies. The book describes a city of extraordinary women who display great strength and virtue. The girls pretend their own tower is the imaginary city of women. In the summer, the girls wander in the garden, and Madame D’Artois teaches parables. Marguerite doesn’t heed her virtuous lessons, and she looks on the Montfort family with disdain.
The chateau prepares for Anne Montfort’s wedding. Marguerite watches the flow of people and fine goods into the chateau, and she wishes she could marry to escape Roberval. She worries Roberval’s loss leaves her with few prospects. Claire tries to remain positive, since they still have shelter and food, but Marguerite is stubborn in her displeasure. Marguerite dreams about Claire starting her own order of nuns where they can escape the world of men.
Damienne falls sick, and Marguerite nurses her as best she can, reading stories from the book of ladies to comfort her. Damienne prays for Roberval’s fortune, since Marguerite’s betrothed already married someone else. Marguerite sees Roberval arrive at Perigord, and Roberval’s man, Henri, brings Marguerite an invitation. Madame D’Artois offers to present the girl in Damienne’s stead. Damienne gives some final advice, but Marguerite is determined to make Roberval see her poor conditions.
Roberval briefly questions Marguerite and decrees that she’ll accompany him soon to his home in La Rochelle. Marguerite asks to bring her companions with her, to which Roberval agrees. Roberval speaks privately with his secretary, but Marguerite doesn’t leave, and she bravely asks for money to live on in the meantime. Roberval laughs and throws her a purse of gold, which she catches above her head.
Marguerite turns 16 and hires a barber to extract Damienne’s diseased tooth. She sits with Damienne through the painful surgery and nurses her back to health. Another year passes, and Marguerite orders new gowns for herself and Claire. The girls walk in the gardens to show off, drawing the attention of the young Montfort children, Suzanne and Ysabeau. Marguerite offers to teach them, and the children venture to the tower for lessons.
One day, Marguerite and Claire fancily arrange the children’s hair, and the girls want to show their mother. Marguerite follows the children to Madame Katherine Montfort’s room. Madame Montfort thanks Marguerite for her daughters’ lessons and offers to provide supplies for their studies. Marguerite leaves, but she sneaks into the empty great hall to look around. Nicholas Montfort, one of the older sons, discovers and questions her. Rather than apologize for her wandering, Marguerite defends herself. Nicholas asks about Claire, but Marguerite protects her friend and runs from the room.
The next day, Suzanne and Ysabeau bring paper and a poem from Nicholas for Claire. Nicholas continues to send letters and books, but Claire refuses to reply. Marguerite prays to the Virgin for relief, since she knows Nicholas has no intention of marrying Claire.
Nicholas continues to send gifts to Claire, and in fear, the women confine themselves to the tower. Claire worries her refusals will make Nicholas angry, and in his anger, he could remove her from the house. Claire and Marguerite pray and continue to teach the young girls, hoping to stay in Madame Montfort’s good graces.
One morning, Marguerite watches Nicholas leave with a hunting party, and she proposes to teach the children outside while he’s absent. As the girls look at shapes in the clouds, they hear horses returning early. Marguerite sees Nicholas, gravely injured, being carried back to the house. Claire leads a prayer for his safety. After waiting for hours, Marguerite and Claire bring the children to their chambers and stay with them while their servants are occupied.
Damienne and Madame D’Artois join the girls as they wait for Suzanne and Ysabeau’s nurse. The girls report on their brother’s poor condition the next day. Physicians tend to Nicholas’ wounds, but nothing helps the infection. Claire and Marguerite wander freely through the garden, and despite his actions, Claire prays for Nicholas’ recovery. Henri arrives and informs Marguerite that she and Damienne must follow him to La Rochelle in the morning.
Marguerite reports the sudden news to Damienne and orders the servants to pack their belongings. She worries about the other women, but Madame D’Artois and Claire plan to stay at Perigord to teach the children. Marguerite grieves when she realizes Claire and Madame knew about her departure and secretly planned to keep their positions.
Claire wakes Marguerite early to report Nicholas’s death. Marguerite confronts Claire about her betrayal, but Claire is adamant they needed security if Roberval refused to accept them at La Rochelle. To prove her love, Claire offers Marguerite her ring from the Queen. Marguerite gives Claire her ruby ring. Claire proposes to exchange the rings again when they meet next, but Marguerite isn’t hopeful they’ll see each other again. Marguerite and Damienne depart on horseback, taking one last look at the only home either of them ever knew.
In Part 1, Goodman explores Marguerite’s early years and adolescent personality to establish her arc from innocence to experience over the course of the novel. She immediately introduces Marguerite’s defining character trait—her strong will—to foreshadow her eventual rebellion against the traditional gender roles of her era, underscoring the text’s thematic interest in The Personal Impact of Gender and Class Inequality. Without parents or close relatives, Marguerite relies on her nurse, Damienne, to teach her how to navigate the world. Damienne impresses on Marguerite the importance of devotion, virtuousness, and obedience in ladies. Marguerite dislikes the tedious and quiet women’s work of sewing and reading, preferring to roam the castle grounds. She notes that her “hems were ragged because [she] climbed rough tower stairs to see the view. […] As for [her] slippers, [she] had ruined them at the stables where [she] ran to see the horses” (5). Marguerite pushes back against the restrictions and expectations placed on her as a young lady, constantly questioning why she can’t do or say certain things. As Marguerite ages from 9 to 17, Goodman gives the reader access to Marguerite’s internal thoughts as well as her external actions, evidencing her attempts to develop restraint in her outward behavior and repress her instincts to avoid being perceived as improper. For example, when Madame Montfort asks Marguerite what she needs to continue the girls’ lessons, Marguerite thinks, “Ten gold pieces,” but outwardly replies by demurring: “‘Nothing. Nothing at all. We teach for our amusement’” (35). Through the use of first-person narration, Goodman demonstrates that Marguerite never truly rids herself of her inquisitiveness, maintaining her impulse to question proper and improper behaviors.
Goodman incorporates a literary allusion to Catherine de Pizan’s book, The Book of the City of Ladies, written in 1405 to underscore the tension between the dominance and control that Roberval—and patriarchal society more broadly—exerts over Marguerite and her innate desire for autonomy and independence. Pizan’s book was written as a response to misogynistic literature that portrayed women as “foolish, fickle, weak” (22). Pizan collected stories of extraordinary women and imagined that they built a city where they were appreciated for their deeds and virtues. In Isola, Madame D’Artois introduces Marguerite to “the book of ladies” and Marguerite “pretend[s] that [their] own tower [is] a citadel of ladies” where she can escape Roberval’s control and feel valued in a community of women (22). The book inspires Marguerite to imagine ways of expanding this community by opening a cloister that they can all live in together. Marguerite views Roberval as the central obstacle to this goal, often praying for him to perish because she believes “if Roberval was lost at sea, [they] might live just as [they] pleased” (25). Under Roberval’s rule, Marguerite feels like a possession rather than a person, and she uses the book of ladies as a mental talisman that reminds her of her true value.
Goodman reinforces the gendered power dynamics of the era by positioning both Roberval and Nicholas Montfort as antagonistic forces in Marguerite’s life. Roberval is Marguerite’s guardian, and because she’s an unmarried woman, he has control over her inheritance until she weds. He consistently invokes Christian doctrine and biblical references to shore up his personal power, underscoring the novel’s thematic engagement with The Use of Christian Faith to Reinforce Patriarchal Power. Marguerite feels Roberval’s power over her intensely, and she resents the lack of autonomy she has while under his care. For example, Roberval has the final say over who Marguerite will marry, so she cannot escape her life as his ward until he makes this decision. Marguerite cannot make these connections herself, forcing her to live under Roberval’s rule, even when he ignores his duty to chase his own fortune. Similarly, Nicholas lusts after Claire, and his constant seductions make the women feel like they must imprison themselves in their tower to avoid his advances. Claire feels caught whether she acknowledges or ignores Nicholas because if he feels slighted in any way, he has the power to strip her of her livelihood. She notes: “He might speak to his father, and he, in turn, could complain of us to Roberval. […] He might sully her good name—and how could she defend herself?” (39) Nicholas’ actions demonstrate the gendered power imbalance and marginalization of women in 16th-century France whose lives and reputations remained vulnerable to the whims of powerful men.
Goodman uses the motif of birds to represent Marguerite’s desire for freedom. For example, Marguerite purchases a finch that “live[s] in a gilt cage” (12). Goodman draws a parallel between the caged bird and Marguerite’s experience at Perigord—like the bird, she lives within a beautiful environment, but feels confined against her will. The bird dies after her move to the north tower, underscoring Marguerite feeling that she is withering away under Roberval’s dominance. Throughout the text, birds appear whenever Marguerite feels trapped and longs for freedom. The affinity she feels with birds foreshadows her time on the island in which she experiences unprecedented freedom and autonomy alongside suffering and grief, pointing to Goodman’s thematic interest in Survival Conditions as a Catalyst for Personal Growth.
Goodman also uses rings throughout the narrative as a symbol of Marguerite’s truest self, her life of comfort and the inheritance she is owed. Marguerite has a ruby ring that was passed down by her mother, and Claire has a simple gold ring that she received as a gift from Queen Marguerite of Navarre. When Roberval inspects Marguerite’s ring, she fears he won’t give it back, saying: “I knew that Roberval could keep it; I had no way to stop him. He might slip my mother’s gift into his cabinet or wear it on his little finger” (18). Just as he has taken everything else she owns, Marguerite fears Roberval will take this last treasure, and by possessing it, he will also totally possess her. When Margeurite exchanges her ornate ring for Claire’s simple one, she symbolically gives away her comfortable life at Perigord, while also protecting her innermost self from Roberval’s grasp.
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