Letters of Abelard and Heloise

It is unclear quite how the letters of Abelard and Héloïse came to be preserved. There are brief and factual references to their relationship by 12th-century writers including William Godel and Walter Map. While the letters were most likely exchanged by horseman in a public (open letter) fashion readable by others at stops along the way (and thus explaining Heloise's interception of the Historia), it seems unlikely that the letters were widely known outside of their original travel range during the period. Rather, the earliest manuscripts of the letters are dated to the late 13th century. It therefore seems likely that the letters sent between Abelard and Héloïse were kept by Héloïse at the Paraclete along with the 'Letters of Direction', and that more than a century after her death they were brought to Paris and copied.[2]

Shortly after the deaths of Abelard and Heloise, Chrétien de Troyes appears influenced by Heloise's letters and Abelard's castration in his depiction of the fisher king in his grail tales.[3] In the fourteenth century, the story of their love affair was summarised by Jean de Meun in the Le Roman de la Rose. Chaucer makes a brief reference in the Wife of Bath's Prologue (lines 677–8) and may base his character of the wife partially on Heloise. Petrarch owned an early 14th-century manuscript of the couple's letters (and wrote detailed approving notes in the margins).

The first Latin publication of the letters was in Paris in 1616, simultaneously in two editions. These editions gave rise to numerous translations of the letters into European languages – and consequent 18th- and 19th-century interest in the story of the medieval lovers.[4] In the 18th century, the couple were revered as tragic lovers, who endured adversity in life but were united in death. With this reputation, they were the only individuals from the pre-Revolutionary period whose remains were given a place of honour at the newly founded cemetery of Père Lachaise in Paris. At this time, they were effectively revered as romantic saints; for some, they were forerunners of modernity, at odds with the ecclesiastical and monastic structures of their day and to be celebrated more for rejecting the traditions of the past than for any particular intellectual achievement.[5]

The Historia was first published in 1841 by John Caspar Orelli of Turici. Then, in 1849, Victor Cousin published Petri Abaelardi opera, in part based on the two Paris editions of 1616 but also based on the reading of four manuscripts; this became the standard edition of the letters.[6] Soon after, in 1855, Migne printed an expanded version of the 1616 edition under the title Opera Petri Abaelardi, without the name of Héloïse on the title page.

Critical editions of the Historia Calamitatum and the letters were subsequently published in the 1950s and 1960s. The most well-established documents, and correspondingly those whose authenticity has been disputed the longest, are the series of letters that begin with the Historia Calamitatum (counted as letter 1) and encompass four "personal letters" (numbered 2–5) and "letters of direction" (numbers 6–8).

Most scholars today accept these works as having been written by Héloïse and Abelard themselves. John Benton is the most prominent modern skeptic of these documents. Etienne Gilson, Peter Dronke, Constant Mews, and Mary Ellen Waithe maintain the mainstream view that the letters are genuine, arguing that the skeptical viewpoint is fueled in large part by its advocates' pre-conceived notions.[7]