Histoire de la Marquise Marquis de Banneville | The Story of the Marquise-Marquise de Banneville
Read the story: 1st Edition (1695) | 2nd Edition (1696) | 3rd Edition (1723) | (Bonus English Translation)
Why this text | Folk tales, fairy tales, and contes galants | Publication History | Characters & Story | Bibliography
I first encountered the Histoire de la Marquise-Marquis de Banneville in 2022 as a recent English translation in a collection titled the Wonder Tales: six stories of enchantment. This particular version of the Histoire, titled “The Counterfeit Marquise”, was brought to my attention via social media, where it was described as a forgotten fairy tale with unexpectedly queer themes. At the time, I was in the midst of searching for a thesis topic for my Master’s program in Rare Books and Digital Humanities and this story immediately caught my attention. The idea of studying a fairy tale with such rich, queer themes seemed like the perfect opportunity to blend my personal and academic interests.
I was intrigued and I sought out the original French and discovered that—despite the attribution in a later published version—there is no undisputed author connected to the story. The timing of my discovery felt fortuitous. Here I was, studying in France, which allowed me to take advantage of access to French archives and rare collections. This proximity to key resources made the Histoire an ideal focus for my thesis, especially since I could conduct research directly on the original French text. The lack of attribution added a layer of mystery surrounding its creation and transmission. The absence of an identified author, coupled with the limited accessibility of these early texts, made it a prime candidate for computational analysis—a relatively new and underutilized approach in literary studies. I couldn’t help but think that modern methodologies, particularly those from the Digital Humanities, could offer new insights into the unresolved question of the Histoire's authorship.
So what started as a literary analysis of queer themes soon evolved into a more technical investigation. As I delved deeper, I found no existing evidence of computational analysis being used in the previous attribution attempts. There are other scholars who can write more eloquently than I on the subject of queer themes in fairy tales, but given that Digital Humanities is still an emerging field, especially in literary studies, there are not many humanities scholars that have extensive programming experience, so I saw this as an opportunity to fill a gap.
By employing new techniques, I hope to contribute to the ongoing discourse surrounding the authorship of the Histoire de la Marquise-Marquis de Banneville. Although my analysis may not directly engage with the literary exploration of queer themes, I believe the act of highlighting a story like the Histoire will promote a broader understanding of queer stories within the academic community.
Using computational tools for author attribution became the core focus of my research. Digital Humanities, particularly in the context of authorship studies, offers methods such as stylometry—the statistical analysis of literary style—and which can provide clues about an anonymous text’s possible authorship by comparing it to other known works. As I researched the Histoire and its three potential authors, based on previous scholarly conjectures, my goal became to apply computational analysis to the Histoire and works attributed to these three authors, hoping to determine patterns that could point to a definitive author.
To accomplish this, I needed to gather and process texts attributed to these authors, as well as multiple versions of the Histoire de la Marquise-Marquis de Banneville. I then used techniques such as word frequency analysis, sentence structure comparison, and other computational methods to compare the Histoire against the works of its potential authors. This process involved building a dataset that allowed for a more detailed comparison, a task that required teaching myself more advanced coding techniques than those I had previously been familiar with. While my background in fine arts had provided me with some digital skills, this project pushed me to deepen my knowledge in areas such as Python programming, text mining, and data visualization.
The project also allowed me to draw upon existing resources in the Digital Humanities, such as The Programming Historian, which offers tools for authorship attribution that became invaluable in my analysis. In the end, my thesis became a blend of computational analysis, rare book history, and French literary scholarship. By focusing on the authorship question, I aimed to shed light on the anonymous writer behind the Histoire de la Marquise-Marquis de Banneville while also demonstrating how modern digital tools can be applied to classic texts. Through this project, I hope to contribute both to the field of Digital Humanities and to the understanding of this uniquely queer, historically obscure fairy tale.
The Histoire also stood out to me because it existed in a unique historical and literary context. It was first published in the Mercure Galant, which was a pioneering periodical launched in 1672 and considered the peak of the petite presse in Paris. The Mercure Galant played a crucial role in shaping public taste, particularly among elite readers, by showcasing sophisticated tales and current social trends. The Mercure catered particularly to educated women who were some of the most devoted readers of the period. For contemporary audiences, it also served as a window into cultural values and cultural ideas of the time, including evolving views on gender and class, which are subtly woven into the Histoire de la Marquise-Marquis de Banneville.
Seventeenth-century magazines like the Mercure Galant are now considered rare books due to their limited print runs and fragile nature, which have left few surviving copies. As early examples of serialized publications, these magazines were often read widely and then discarded, making original editions scarce and valuable to collectors and scholars today. The remaining issues, therefore, hold great value for scholars and collectors, as they offer a direct link to the literary and social trends of the past. Early periodicals like the Mercure represent one of the first forms of serialized publications, which set a precedent for modern journalism and literary magazines. For rare book scholars, these magazines offer insights not only into the content they held but also into the ways people consumed media during the time. The rarity of such early publications emphasizes the historical significance of the Histoire de la Marquise-Marquis de Banneville, enhancing its appeal as a subject for research and analysis.
In approaching my research on the Histoire de la Marquise-Marquis de Banneville, I recognized that studying such a text required an interdisciplinary perspective. With my academic background in Rare Books and Digital Humanities, I could explore both the physical rarity of early printed versions and the digital tools that allow us to analyze and preserve these works for future scholars. Combining traditional book history methods with digital analysis offered a fresh way to examine not only the text itself but also its context within the broader evolution of gender narratives in literature. Studying this Histoire in relation to other rare works from the same era allows me to delve into both the queer themes of the narrative and the broader historical forces that shaped its publication and reception.
Ultimately, researching the Histoire de la Marquise-Marquis de Banneville enabled a deeper understanding of how stories with progressive themes could exist and even flourish within the seemingly restrictive boundaries of 17th-century literary culture. This story’s publication in the Mercure Galant reflects a nuanced acceptance of diverse narratives, suggesting that early modern audiences were more open to fluid portrayals of identity than we might assume. As I continue this research, I hope to contribute to the conversation surrounding both the history of queer themes in literature and the value of rare publications in shaping our understanding of the past.
Folk tales, fairy tales, and contes galants
While folk tales are a world-wide concept that predate written language, the modern concept of a fairy tale originates in Western Europe. Codified over time, they are not long novels, but rather short narratives with a certain expected structure, inspired by oral and popular tradition. The opening line, “once upon a time,” is meant to put the reader in the mindset of a different time and place. There is a clear hero or heroine to the story who must overcome a series of trials; they have helpers, and these helpers are often fairies or animals. And, while the term “fairy tale” implies the presence of magical creatures, fairies aren’t actually a requirement of the genre, which is better characterized by acts of wild imagination and strong symbolism.
The modern concept of a fairy tale as we know it today began to take shape during the Renaissance, a period of intellectual and cultural revival in Europe. This era saw a renewed interest in literature, art, and the exchange of ideas, leading to the creation and spread of many of the most enduring and beloved fairy tales. Among the key figures who contributed to this rich tradition were Italian authors Giovanni Francesco Straparola and Giambattista Basile. Their works in the Sixteenth and Seventeenth centuries laid the foundation for stories that continue to captivate audiences.
Straparola, often considered the father of the literary fairy tale, wrote the earliest known version of Puss in Boots in his Le piacevoli notti (The Pleasant Nights) in 1550. This tale, titled Costantino Fortunato, introduced readers to the clever, anthropomorphic cat who helps his master achieve wealth and status through cunning and deception. Straparola’s collection was notable not only for its fairy tales but also for its framing story structure, in which different narrators recounted stories over several nights—an innovation that influenced later European storytellers.
This narrative framework was likely inspired by Giovanni Boccaccio’s The Decameron, written nearly two centuries earlier in 1353, a work that pioneered the use of a framing device to unify a set of disparate stories within a single overarching narrative. In The Decameron, a group of ten young people flees to the countryside to escape the Black Plague, and each day, they entertain each other by telling tales of romance, wit, and deception.
Boccaccio’s work laid the groundwork for future storytelling traditions by illustrating how an anthology of tales could be woven together with a unifying theme or scenario, turning a collection into something greater than its individual parts. This structure established a precedent for later authors like Straparola, who adapted the idea of framing tales to create a cohesive, multi-layered narrative.
Straparola's narrators, like Boccaccio’s, exchange stories over several nights, establishing a tradition in which fictional storytellers are as central to the experience as the stories themselves. Following Straparola’s example, authors like Giambattista Basile and, later, Charles Perrault, continued to use this framework in their collections, including The Tale of Tales and the Histoires ou contes du temps passé. Each added layers of cultural context and social themes, such as transformation, cunning, and upward mobility, that resonated with audiences of their respective times.
Basile’s work, in particular, introduced darker, folkloric elements that foreshadowed the later themes of the Brothers Grimm, who drew from these traditions to compile their own collection of tales. Giambattista Basile, writing in the early Seventeenth-century, followed in Straparola’s footsteps by compiling and refining a collection of stories steeped in local folklore. His Lo cunto de li cunti (The Tale of Tales), published posthumously between 1634 and 1636, included some of the earliest known European versions of what are now iconic fairy tales. Among his works were Cagliuso, his own take on Puss in Boots, and Petrosinella, which would later evolve into the story of Rapunzel. Basile also wrote La gatta Cenerentola, an early version of Cinderella in which the heroine is aided not by a fairy godmother but by a magical, protective tree. His stories, rich in local dialect and dark humor, were intended primarily for adult readers, reflecting the fairy tale’s origins as a genre for adults rather than children.
The popularity of these Italian stories grew as they reached other parts of Europe, particularly in France, where they gained further refinement and notoriety in the literary salons of the late Seventeenth-century. These salons, often hosted by aristocratic women, were influential cultural hubs where writers, intellectuals, and nobility gathered to discuss literature, philosophy, and social issues. Within this context, fairy tales evolved from simple folk narratives into sophisticated stories that served as both entertainment and subtle social commentary. The salons provided a rare space for women to contribute to literature and intellectual discourse, allowing them a platform to explore and challenge ideas about gender, power, and class.
Marie-Catherine d’Aulnoy, one of the most renowned writers from these salons, is often credited with coining the term “fairy tale” (“conte des fées”) in her works, which often featured strong female characters and fantastical elements. D’Aulnoy’s work also introduced iconic elements to the genre, such as the figure of Prince Charming, which would later become emblematic of fairy tale romance and adventure. Her tales, along with those of other salonnières like Charlotte-Rose de Caumont de La Force and Henriette-Julie de Murat, were a transformative force, shifting the fairy tale’s focus from simple moral lessons to complex narratives that included themes of love, loyalty, and personal growth. These writers expanded the fairy tale’s thematic scope, subtly embedding reflections on the constraints and possibilities for women in French society.
D’Aulnoy’s contemporary, Charles Perrault, also made significant contributions to the genre. In fact, he is one of the most famous figures to emerge from this period. His collection Les Contes de ma Mère l'Oye (Tales of Mother Goose), published in 1697, remains a cornerstone of the fairy tale tradition. Stories such as Cendrillon (Cinderella), Le Petit Chaperon Rouge (Little Red Riding Hood), and La Belle au bois dormant (Sleeping Beauty) gained widespread popularity through Perrault's versions, which were notable for their moral lessons and elegant prose.
The fairy tale tradition eventually spread beyond France and Italy, influencing writers across Europe. Including Germany, where the Brothers Grimm played a pivotal role in preserving oral folktales and bringing them to a wider audience. Their collection, Kinder- und Hausmärchen (Children’s and Household Tales), published in the early 19th century, gathered stories from local German traditions, many of which had been passed down orally for generations. Their versions of Aschenputtel (Cinderella), Rapunzel, and Dornröschen (Sleeping Beauty) became part of the cultural fabric of Western storytelling, with their darker, more morally complex narratives standing in contrast to the refined French versions.
The popularity of these stories led them to be translated and widely read in English, helping to establish the genre in English literary culture. As literacy rates increased and books became more accessible, fairy tales began to appeal to a growing middle-class audience, particularly children, And writers blended fairy tales with moral lessons, contributing to the genre’s early prominence in English children’s literature. The Grimm Brothers’s collection, finally translated into English, also captivated readers.
Meanwhile English authors like George MacDonald created original works that incorporated traditional fairy tale elements. His novel, The Princess and the Goblin, is an example how English writers crafted stories using the established themes of spiritual and mystical transformation.
In the Nineteenth-century, the genre gained further popularity, particularly with the influence of the Romantic movement, which celebrated folklore, imagination, and the supernatural. Inspired by this we see another significant contribution to English fairy tale culture during the late 19th century, Andrew Lang’s Fairy books. Beginning with The Blue Fairy Book in 1889, Lang compiled and adapted fairy tales from across Europe and beyond, creating a multi-volume series that introduced countless readers to stories from various cultures, including those familiar tales earlier imagined in Italy, Puss in Boots and Cinderella. Lang's Fairy books became an essential part of Victorian children's literature, offering beautifully illustrated and engaging stories that helped solidify the fairy tale’s enduring appeal in England.
Through these various iterations and adaptations, fairy tales evolved from their Renaissance roots into the almost-universal stories we recognize today. They transcended borders, appealing to both adult readers and children, as well as to a wide variety of backgrounds. They became a vehicle for both entertainment and the exploration of deeper themes. These stories continue to resonate with audiences still today, illustrating the enduring power of fairy tales in shaping our imagination and culture.
In the Anglophile literary tradition today, fairy tales are a broad category and include a variety of story types, including those that might be classified differently in other cultures. For example, in French literature, the “conte galant” (or "gallant story") refers specifically to tales set in aristocratic or royal court settings, often focusing on themes of love, courtship, and the social intrigues of the aristocratic class, rather than magical or fantastical elements. Unlike traditional fairy tales with overtly magical elements, contes galants are usually more grounded in real-world settings, where the focus lies on romantic entanglements and the power dynamics of elite society. However, they share with fairy tales a sense of heightened reality, often depicting idealized characters and scenarios that carry a dreamlike quality.
Despite the lack of overt magic, contes galants align with the fairy tale tradition by exploring universal human emotions through imaginative storytelling techniques. These tales frequently involve elements such as disguises, mistaken identities, and unexpected plot twists—devices that, while grounded in human cunning rather than supernatural intervention, create a sense of intrigue and suspense reminiscent of fantastical tales. Through these devices, contes galants weave a fine line between reality and fantasy, engaging readers with narratives that feel familiar yet artfully detached from everyday experience.
Additionally, contes galants, like fairy tales, often serve as allegories for moral or social lessons, reflecting and subtly critiquing the society of their time. Characters in these stories navigate both the pleasures and constraints of courtly life, where rules of decorum, honor, and power interplay with personal desire. The aristocratic backdrop provides an ideal setting to explore themes of loyalty, ambition, and social status—core issues that, in their complexity, offer a mirror to human nature. Thus, while contes galants may seem more restrained in magical content, their blend of social realism and narrative flair allows them to sit comfortably within the broader fairy tale tradition, connecting with readers' imaginations while also commenting on human relationships and societal norms.
Publication History of the Histoire
de la Marquise-Marquis de Banneville
1695
Mercure galant pp. 14-101, Paris
First edition. Printed in the February edition of the magazine. No name attached, but prefaced with an author’s note implying it to be written by a young woman to be read by other young women. (7,085 words)
1696
Mercure galant pp. 171-238 and 85-185, Paris
Second edition. Part one printed in August, with an editor’s note mentioning the woman author; part two printed in September, with an added in-text discussion/advertisement of la Belle au bois dormant by Charles Perrault. Additional background story of Prince Sionad added. (13,374 words)
1723
d’Houry, Paris
Third edition. Published as a standalone text with two additional scenes featuring the Marquis de Bercourt. No author’s note, no editor’s note beyond the Privilege du Roy. (13,868 words)
1928
Mercure de France, Paris
Reprint of the first edition. Prefaced by Madame Jeanne Roche-Mazon’s scholarly paper where she outlined her belief that the Histoire was a collaboration between Charles Perrault and the Abbé de Choisy.
1928
La Centaine, Paris
A standalone text and a reprint of the first edition. Includes an editor’s note presenting Madame Roche-Mazon’s conclusion of the Perrault-Choisy collaboration.
1973
Peter Owen, London
Published as The Transvestite Memoirs of the Abbé de Choisy, this next version of the Histoire was printed along with the abbé’s memoires. This was the first official English translation (of the first edition) by R.H.F. Scott, and included an editor’s note that he believed it to be more likely Choisy’s work than Perrault’s.
1994
Peter Owen, London and Chester Spring, PA
A reprint of The Transvestite Memoirs using Scott’s translation of the first edition and published for a wider market, in the United States as well as London.
1994
Chatto & Windus, London
Six french fairy tales collected by Marina Warner into a book called the Wonder Tales; one of which was an English translation of the Histoire’s first edition, titled “The Counterfeit Marquise” and translated by Ranjit Bolt. Warner’s introduction repeats the idea that the story is a collaboration between Charles Perrault and the abbé de Choisy.
1995
Editions Ombres, Toulouse
Mémoires de l'abbé de Choisy habillé en femme : suivi de, Histoire de la Marquise-marquis de Banneville. Like The Transvestite Memoirs, this is a copy of Choisy’s memoirs alongside the Histoire. This edition seems to assume Choisy alone wrote the Histoire.
1996
Vintage, London and Farrar, Straus and Giroux, New York
A Wonder Tales reprint of “The Counterfeit Marquise” expanded to include the USA market.
2002
Random House & Overdrive
The first ebook edition of Marina Warner’s Wonder Tales collection.
2004
Oxford University Press, Oxford
Another Wonder Tales reprint, based on the American edition.
2004
Modern Language Association of America, New York
They published both the French and English at the same time, translated by Steven Rendall and Joan E. DeJean. A reprint of the second edition, with the two added scenes from the third edition included as appendices. These versions of the Histoire include an introduction by DeJean discussing the possibilities of authorship being Charles Perrault, Madame L'Héritier, the abbé de Choisy, or some combination thereof.
2008
Peter Owen, London
Another reprint of The Transvestite Memoirs using Scott’s Translation.
2010
Vintage, London
Another Wonder Tales reprint.
2012
Vintage, London
A Wonder Tales ebook.
Characters & Story
Mariane
The main character of our story, often called la petite Marquise. An AMAB* character raised unknowingly as a girl.
Marquise de Banneville
Mariane’s mother.
Comtesse d’Aletref/de Variere
An old friend of the Marquise and takes the role of Mariane’s “fairy” godmother. The name was changed from Aletref to Variere in the third edition.
Mme d’Aletref/de Variere
The Comtesse’s daughter and Mariane’s friend.
Prince Sionad
A young foreign prince known to be both a great warrior and a crossdresser.
Marquise de Bercour(t)
A soldier and Mariane’s love interest, eventually revealed to have been AFAB†. Bercour in the first edition and Bercourt thereafter.
Counselor
The Marquise de Banneville’s brother and Mariane’s eventual guardian.
*AMAB: Assigned male at birth
†AFAB: Assigned female at birth
Summary
Determined to keep her son from dying in war the way her husband did, the Marquise de Banneville raises her child as a girl named Mariane.
When Mariane is a teenager, she and her mother go to Paris where she is taken under the wing of the Comtesse. Mariane encounters Prince Sionad dressed as a woman at a ball and is shocked to discover he is a crossdresser. This is her first encounter with non-standard gender presentation.
Mariane also meets the Marquis de Bercourt and they quickly strike up a romance, although the Marquis is unusually resistant to the idea of marriage.
When Mariane tries to press the issue, her mother confesses the truth of Mariane’s birth. Mariane is heartbroken over this, but eventually determines that she wants to marry the Marquis anyway.
Her mother, the Marquise, has died of illness in the meanwhile and her uncle consents to the union, motivated by the expectation of a childless marriage that would preserve his heirs' inheritance.
On their wedding day, an unexpected twist unfolds when the Marquis discloses that she was born a woman. In turn, Mariane reveals her own truth of having been born a boy. The couple decides they will continue to embrace their identities and continue living as the gender they have always known. Their union ultimately leads to the birth of a child, defying her uncle's expectations, and they lived happily ever after.
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