Marguerite de Navarre's "Heptameron"

the Conclusion and in the Bibliography, which goes to 1970, including the relatively re- cent works of Gendre, Gordon, and the first volume of Silver's The Intellectual Evolution of Ronsard.D.P. ^N a.\ker's Spiritual and Demonic Magic from Ficino to Campanella and Gadoffre's Ronsard par lui-même came upon the scene about ten years earlier, but it is these rather disparate authors whom Prof. Lafeuille engages in order to update her research and certain of her attitudes.The unfortunate effect is that the very end of her book suggests some hasty collage work that blurs the edges of the vast canvas that she has put be- fore us.It may be perfectly safe to call Ronsard "un génie solaire," but I think it is pre- carious to let ourselves be ensnared too readily by black or white magic and to take a be- lated look at Jungian archetypes, only to get lost in an ever-repetitive hall of mirrors.At least, this does not effectively round out a work that was written with rather different principles in mind.And these principles, partly historical, partly aesthetic, were united by Germaine Lafeuille in a manner that promises for her Cinq Hymnes de Ronsard an im- portant and permanent place in the still rapidly growing literature on Ronsard.Beyond the horizons contemplated by the poet, we are taken to the outer reaches of Renaissance thought, where stars yet unknown perform their "dance ordonnée."*Note I have noted the following errors.On p. 62: la

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