The Book of the City of Ladies

Christine de Pizan

70 pages 2-hour read

Christine de Pizan

The Book of the City of Ladies

Fiction | Book | Adult | Published in 1405

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Character Analysis

Content Warning: This section of the guide includes discussion of death and gender discrimination.

Christine

As the author and first-person narrator of the allegorical frame, Christine de Pizan appears in her own work as a self-conscious constructed narrative voice. This structure is essential to Christine’s portrayal of herself as the modest recipient of the three Ladies’ divine advance and assistance, rather than the sole author of The Book of the City of Ladies. Although this allegorical dream-vision framing was a popular medieval trope and would have been recognized by Christine’s audience as a fiction, it is especially important for Christine to sanitize her transgressive and radical purpose, and mitigate against contemporary allegations of inappropriate and unfeminine arrogance.


Christine’s intellectual and emotional journey forms the narrative’s central arc, moving from a state of despair to one of empowered agency. At the outset, Christine is overwhelmed by the misogynistic arguments she encounters in the works of male authors like Matheolus. The weight of this literary tradition causes her to internalize the slander against her sex, leading her to “despise myself and the whole of my sex as an aberration in nature” (7). The mentorship of the three Ladies directly illustrates the theme of Education as the Key to Female Liberation, as Christine’s despair is cured by logical arguments, historical evidence, and moral instruction provided by the Virtues. Her fictionalized journey models—as does her book—the process of unlearning internalized misogyny through the acquisition of a new, woman-centered knowledge.


Christine’s fictionalized voice in the book often “plays dumb” in order to facilitate the mentor-student conceit of the dialogue. By asking questions that echo misogynistic claims, Christine plays the part of a devil’s advocate, creating a dialogic structure that allows the Virtues to systematically dismantle each false argument. She acts as a proxy for the skeptical reader, voicing the dominant societal views so they can be publicly refuted.


In her final address, Christine speaks directly to an audience of princesses and all other ladies, transitioning from the allegorical space of the city to the real world of her contemporary readers. By encouraging them to live virtuously and thus prove the misogynists wrong, she extends the responsibility of defending women to her audience, positioning her book as a practical guide for moral conduct and collective empowerment.

Lady Reason

Lady Reason is the first of the three allegorical Virtues who appear to Christine and is her primary guide in laying the intellectual groundwork for the City of Ladies. An allegorical, static construct, she embodies the unchanging principles of logic, discernment, and enlightened intellect. Her purpose is to cure Christine of the “misconceptions which have clouded your mind” (8) by applying rational analysis to misogynistic claims. She carries a shining mirror that allows a person to “see themselves as they truly are” (10), a correction to the distorted reflections of women found in anti-feminist literature.


Reason initiates the construction of the city by instructing Christine to “dig” to prepare the city area, a metaphor for the intellectual labor of clearing away false beliefs before a new structure of truth can be built. Embodying her name, Reason personifies the triumph of women’s self-knowledge and lived experience in over the observations of men in judging female nature. Reason exemplifies the argument that “if it were the custom to send little girls to school and to teach them all sorts of different subjects there […] they would grasp and learn the difficulties of all the arts and sciences just as easily as the boys do” (57). She addresses the root causes of misogyny, attributing it to men’s failings and provides logical counter-arguments to common sexist tropes and reinterprets authoritative sources, including the Bible and classical philosophy, to support her case.

Lady Rectitude

Lady Rectitude is Christine’s second allegorical guide, eponymously representing moral integrity, ethical conduct, and truthfulness. Her function is to build upon the logical foundations laid by Reason by constructing the “houses and buildings” (91) of the city and filling them with worthy inhabitants, identifying women who have demonstrated virtues within the established moral and religious framework of the Middle Ages. Rectitude carries a ruler, representing her role as the arbiter of virtue: She tells Christine, “Whoever follows my yardstick cannot go astray” (13), establishing herself as the authority on proper conduct.


To build the city’s interior, Rectitude provides a catalogue of exemplary women who serve as moral role models. She begins with the Sibyls and other prophetesses, establishing a direct connection between women and divine wisdom. Her subsequent points are organized to refute specific misogynistic accusations through positive examples, constructing a community founded on active female virtue and creating a collective history that celebrates women’s moral strength, loyalty, and constancy.

Lady Justice

Lady Justice is the third and final allegorical mentor, representing divine fairness, spiritual authority, and ultimate judgment. As the “most beloved of God’s daughters” (14), her presence confirms that the project of defending women is divinely sanctioned. This religious focus is reflected in the hagiographic nature of the saint-martyr examples of virtuous women that she gives, which themselves reflect contemporaneous attitudes toward female moral ideals. Justice’s task is to complete the City of Ladies by constructing its “high turrets” (15) and bringing its queen—the Virgin Mary—and her celestial court—the saints—to inhabit the highest rooms. This act places the city under the protection of the most exalted of all women, making it an impregnable fortress. In bringing the Queen of Heaven to “live amongst these women, who are my sisters and friends” (202), Justice establishes a sacred sisterhood that unites all virtuous women, past, present, and future, under a divine and perfect ruler. Her work completes the allegorical construction, and her final act is to hand over the finished city to Christine, entrusting its legacy to her and all women.


Justice carries a golden measuring cup, representing her function to “share out to each person exactly what he or she deserves” (14). This instrument reinforces the book’s defense of women as a reflection of celestial truth and fairness, based on the idea that God—not man—is the judge of female virtue.

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