Abstract

Depiction of Bertrande, the wife of Martin Guerre, by Natalie Zemon Davis in her famous bookThe Return of Martin Guerrehas been revolutionary in its attempt to recover the criminal agency of women in historical writing. Davis challenged the representation of women as “deceived” actors of history. Although the story of Martin Guerre has been retold many times, Bertrande has almost always been depicted as being fooled by Arnaud, the false husband; indeed the court that investigated the case decided to accept her testimony that she was “tricked” for more than three years. Despite being suspicious of adultery, the court excused her by considering “the weakness of her sex, easily deceived by the trickery and finesse of men,” and thus mitigated female responsibility. Yet, Davis read the same documents from a different perspective and asserted the possibility that Bertrande might have been “acquiescent” rather than “deceived” and may even have been an accomplice of Arnaud by preferring him, both sexually and socially, to Martin Guerre, her real husband who had abandoned her. In the end, the accused has not been Bertrande, but Natalie Zemon Davis, by a male historian, Robert Finlay, for creating a “proto-feminist of peasant culture” out of Bertrande.

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