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Œuvres complètes: Sonnets, Elegies, Débat de folie et d'amour
Book by Labe, Louise
283 pages, Paperback
First published January 1, 1566
14 people are currently reading
190 people want to read
About the author
Louise Labé
91 books21 followersThe precise date of Louise Labé's birth is unknown. She is born somewhere between 1516 (her parents marriage) and 1523 (her mother's death).
Both her father and her stepmother Antoinette Taillard (whom Pierre Charly married following Etiennette Roybet's death in 1523) were illiterate, but Labé received an education in Latin, Italian and music, perhaps in a convent school.
At the siege of Perpignan, or in a tournament there, she is said to have dressed in male clothing and fought on horseback in the ranks of the Dauphin, afterwards Henry II.
Between 1543 and 1545 she married Ennemond Perrin, a ropemaker.
She became active in a circle of Lyonnais poets and humanists grouped around the figure of Maurice Scève. Her Œuvres were printed in 1555, by the renowned Lyonnais printer Jean de Tournes.
In addition to her own writings, the volume contained twenty-four poems in her honor, authored by her male contemporaries and entitled Escriz de divers poetes, a la louenge de Louize Labe Lionnoize.
The authors of these praise poems (not all of whom can be reliably identified) include Maurice Scève, Pontus de Tyard, Claude de Taillemont, Clement Marot, Olivier de Magny, Jean-Antoine de Baif, Mellin de Saint-Gelais, Antoine du Moulin, and Antoine Fumee.
The poet Olivier de Magny, in his Odes of 1559, praised Labé (along with several other women) as his beloved; and from the nineteenth century onward, literary critics speculated that Magny was in fact Labé's lover. However, the male beloved in Labé's poetry is never identified by name, and may well represent a poetic fiction rather than a historical person.
Magny's Odes also contained a poem (A Sire Aymon) that mocked and belittled Labé's husband (who had died by 1557), and by extension Labé herself.
In 1564, the plague broke out in Lyon, taking the lives of some of Labé's friends. In 1565, suffering herself from bad health, she retired to the home of her friend Thomas Fortin, a banker from Florence, who witnessed her will (a document that is extant).
She died in 1566, and was buried on her country property close to Parcieux-en-Dombes, outside Lyon.
[edit:]Debated connection with "la Belle Cordière"
From 1584, the name of Louise Labé became associated with a courtesan called "la Belle Cordière" (first described by Philibert de Vienne in 1547; the association with Labé was solidified by Antoine Du Verdier in 1585).
This courtesan was a colorful and controversial figure during her own lifetime. In 1557 a popular song on the scandalous behavior of La Cordière was published in Lyon, and 1560 Jean Calvin referred to her cross-dressing and called her a plebeia meretrix or common whore.
Debate on whether or not Labé was or was not a courtesan began in the sixteenth century, and has continued up to the present day. However, in recent decades, critics have focused increasing attention on her literary works.
Her Œuvres include two prose works: a feminist preface, urging women to write, that is dedicated to a young noblewoman of Lyon, Clemence de Bourges; and a dramatic allegory in prose entitled Debat de Folie et d'Amour, which draws on Erasmus' Praise of Folly.
Her poetry consists of three elegies in the style of the Heroides of Ovid, and twenty-four sonnets that draw on the traditions of Neoplatonism and Petrarchism.
The Debat, the most popular of her works in the sixteenth century, inspired one of the fables of Jean de la Fontaine and was translated into English by Robert Greene in 1584.
The sonnets, remarkable for their frank eroticism, have been her most famous works following the early modern period, and were translated into German by Rainer Maria Rilke.
Both her father and her stepmother Antoinette Taillard (whom Pierre Charly married following Etiennette Roybet's death in 1523) were illiterate, but Labé received an education in Latin, Italian and music, perhaps in a convent school.
At the siege of Perpignan, or in a tournament there, she is said to have dressed in male clothing and fought on horseback in the ranks of the Dauphin, afterwards Henry II.
Between 1543 and 1545 she married Ennemond Perrin, a ropemaker.
She became active in a circle of Lyonnais poets and humanists grouped around the figure of Maurice Scève. Her Œuvres were printed in 1555, by the renowned Lyonnais printer Jean de Tournes.
In addition to her own writings, the volume contained twenty-four poems in her honor, authored by her male contemporaries and entitled Escriz de divers poetes, a la louenge de Louize Labe Lionnoize.
The authors of these praise poems (not all of whom can be reliably identified) include Maurice Scève, Pontus de Tyard, Claude de Taillemont, Clement Marot, Olivier de Magny, Jean-Antoine de Baif, Mellin de Saint-Gelais, Antoine du Moulin, and Antoine Fumee.
The poet Olivier de Magny, in his Odes of 1559, praised Labé (along with several other women) as his beloved; and from the nineteenth century onward, literary critics speculated that Magny was in fact Labé's lover. However, the male beloved in Labé's poetry is never identified by name, and may well represent a poetic fiction rather than a historical person.
Magny's Odes also contained a poem (A Sire Aymon) that mocked and belittled Labé's husband (who had died by 1557), and by extension Labé herself.
In 1564, the plague broke out in Lyon, taking the lives of some of Labé's friends. In 1565, suffering herself from bad health, she retired to the home of her friend Thomas Fortin, a banker from Florence, who witnessed her will (a document that is extant).
She died in 1566, and was buried on her country property close to Parcieux-en-Dombes, outside Lyon.
[edit:]Debated connection with "la Belle Cordière"
From 1584, the name of Louise Labé became associated with a courtesan called "la Belle Cordière" (first described by Philibert de Vienne in 1547; the association with Labé was solidified by Antoine Du Verdier in 1585).
This courtesan was a colorful and controversial figure during her own lifetime. In 1557 a popular song on the scandalous behavior of La Cordière was published in Lyon, and 1560 Jean Calvin referred to her cross-dressing and called her a plebeia meretrix or common whore.
Debate on whether or not Labé was or was not a courtesan began in the sixteenth century, and has continued up to the present day. However, in recent decades, critics have focused increasing attention on her literary works.
Her Œuvres include two prose works: a feminist preface, urging women to write, that is dedicated to a young noblewoman of Lyon, Clemence de Bourges; and a dramatic allegory in prose entitled Debat de Folie et d'Amour, which draws on Erasmus' Praise of Folly.
Her poetry consists of three elegies in the style of the Heroides of Ovid, and twenty-four sonnets that draw on the traditions of Neoplatonism and Petrarchism.
The Debat, the most popular of her works in the sixteenth century, inspired one of the fables of Jean de la Fontaine and was translated into English by Robert Greene in 1584.
The sonnets, remarkable for their frank eroticism, have been her most famous works following the early modern period, and were translated into German by Rainer Maria Rilke.
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Displaying 1 - 23 of 23 reviews
October 7, 2018
Louise Labé was born in 1522. Lucky girl, her father, a master artisan from Lyon, France, who read the Pantagruel by Rabelais, raised Louise as her brothers, in the knowledge and the same games. Louise is a good musician, but she also knows Latin and Italian so much that she wrote some poems in Italian.
Lucky me I read this book in French, because poetry can hardly be translated. Unlucky me, I read it in an old edition keeping the old French, not so easy to read.
But Lord! It’s worth it when you read such an intelligent and poetic author, an independent woman and above all, an accomplished and complete woman. Because Louise Labé was not only a brain, an artist, but she was also a woman made of bones AND of flesh.
I tend to be suspicious and skeptical towards intellectuals who call themselves purely intellectual. A person is not only a brain, a person is also a body and senses. I believe that if one doesn’t use one's body or senses, one's thought isn’t balanced.
That said, Louise Labé did had some reasoning. The proof, here is an excerpt from a letter she wrote to a female friend, letter written 500 years ago and still relevant today!
"The time has come that the harsh laws of men no longer prevent women from studying sciences, arts or literature: it seems to me that the women who can, must use the honest liberty that our sex once so much desired, in learning. They must show men the harm they did to us by depriving us of the right and the honor that could result. And if a woman achieves a degree of knowledge, that she puts her conceptions in writing, that she does it carefully, and that she does not disdain glory; but rather that she adorns herself with them like with a jewel or sumptuous clothes, which we can esteem to be ours only when and because we wear them.
But the honor which knowledge will procure us will be entirely ours; it cannot be taken away, neither by the wiliness of a robber, nor by the force of an enemy, nor by time.
I would like to see our sex to exceed or to equal men, not only in outer beauty, but in knowledge and virtue ..."
And when Louise Labé talks about love in her poetries, you think: human nature didn’t change at all and will never change; feelings remain the same through ages. I'm sure each teenager girl, each woman will recognize here, the symptoms of love (translation by myself, sorry madame Louise Labé!)
I live, I die; I burn and drown myself;
I am extremely hot while enduring coldness:
Life is too soft and too hard to me.
I have great boredoms mixed with joy.
All at once I laugh and I cry,
And in pleasure, I often endure torment;
My good goes away, and for ever it lasts;
All at once I get dry and get green.
Thus Love leads me, inconstantly;
And, when I think I have more pain,
Without thinking, I find myself out of pain.
Then, when I believe my joy to be certain,
And be at the top of my desired happiness,
It puts me back in my first misfortune.
French version by Louise Labé:
Je vis, je meurs ; je me brûle et me noie ;
J’ai chaud extrême en endurant froidure :
La vie m’est et trop molle et trop dure.
J’ai grands ennuis entremêlés de joie.
Tout à un coup je ris et je larmoie,
Et en plaisir maint grief tourment j’endure ;
Mon bien s’en va, et à jamais il dure ;
Tout en un coup je sèche et je verdoie.
Ainsi Amour inconstamment me mène ;
Et, quand je pense avoir plus de douleur,
Sans y penser je me trouve hors de peine.
Puis, quand je crois ma joie être certaine,
Et être au haut de mon désiré heur,
Il me remet en mon premier malheur.
The 21st century will be female!
Lucky me I read this book in French, because poetry can hardly be translated. Unlucky me, I read it in an old edition keeping the old French, not so easy to read.
But Lord! It’s worth it when you read such an intelligent and poetic author, an independent woman and above all, an accomplished and complete woman. Because Louise Labé was not only a brain, an artist, but she was also a woman made of bones AND of flesh.
I tend to be suspicious and skeptical towards intellectuals who call themselves purely intellectual. A person is not only a brain, a person is also a body and senses. I believe that if one doesn’t use one's body or senses, one's thought isn’t balanced.
That said, Louise Labé did had some reasoning. The proof, here is an excerpt from a letter she wrote to a female friend, letter written 500 years ago and still relevant today!
"The time has come that the harsh laws of men no longer prevent women from studying sciences, arts or literature: it seems to me that the women who can, must use the honest liberty that our sex once so much desired, in learning. They must show men the harm they did to us by depriving us of the right and the honor that could result. And if a woman achieves a degree of knowledge, that she puts her conceptions in writing, that she does it carefully, and that she does not disdain glory; but rather that she adorns herself with them like with a jewel or sumptuous clothes, which we can esteem to be ours only when and because we wear them.
But the honor which knowledge will procure us will be entirely ours; it cannot be taken away, neither by the wiliness of a robber, nor by the force of an enemy, nor by time.
I would like to see our sex to exceed or to equal men, not only in outer beauty, but in knowledge and virtue ..."
And when Louise Labé talks about love in her poetries, you think: human nature didn’t change at all and will never change; feelings remain the same through ages. I'm sure each teenager girl, each woman will recognize here, the symptoms of love (translation by myself, sorry madame Louise Labé!)
I live, I die; I burn and drown myself;
I am extremely hot while enduring coldness:
Life is too soft and too hard to me.
I have great boredoms mixed with joy.
All at once I laugh and I cry,
And in pleasure, I often endure torment;
My good goes away, and for ever it lasts;
All at once I get dry and get green.
Thus Love leads me, inconstantly;
And, when I think I have more pain,
Without thinking, I find myself out of pain.
Then, when I believe my joy to be certain,
And be at the top of my desired happiness,
It puts me back in my first misfortune.
French version by Louise Labé:
Je vis, je meurs ; je me brûle et me noie ;
J’ai chaud extrême en endurant froidure :
La vie m’est et trop molle et trop dure.
J’ai grands ennuis entremêlés de joie.
Tout à un coup je ris et je larmoie,
Et en plaisir maint grief tourment j’endure ;
Mon bien s’en va, et à jamais il dure ;
Tout en un coup je sèche et je verdoie.
Ainsi Amour inconstamment me mène ;
Et, quand je pense avoir plus de douleur,
Sans y penser je me trouve hors de peine.
Puis, quand je crois ma joie être certaine,
Et être au haut de mon désiré heur,
Il me remet en mon premier malheur.
The 21st century will be female!
March 1, 2025
J'ai ADORÉ ce livre! C'est une perle de la littérature française, une que je chéris énormément.
July 1, 2023
Schattige sonnetten
December 16, 2021
"débat de folie et d'amour", l'un de mes textes préférés ♡
November 29, 2024
Le fait qu'elle soit comparée à Sappho est sublime !
Débat de folie et d'amour : ⭐⭐⭐⭐
Élégies : ⭐⭐
Sonnets: ⭐⭐⭐⭐
Testament de Louise Labé: ⭐⭐
Poèmes attribués à Louise Labé: ⭐⭐⭐
Le dialogue poétique entre Louise Labé et Olivier de Magny: ⭐⭐
Regards sur Louise Labé: ⭐⭐⭐⭐
Petit bémol, l'écriture "moyenageuse" a difficulté ma lecture parce que ça fatigue de chercher ce que tel mot veut dire, de penser qu'on comprend la phrase mais au final, non, mais j'ai quand même apprécier parce que je suis bien consciente d'être face à des écrits rescapés de l'oubli mais aussi d'une originalité et sensibilité incroyables
Le fait que ses ami.e.s ont écrit des sonnets en son hommage ♡
je veux la même chose maintenant hahah
Débat de folie et d'amour : ⭐⭐⭐⭐
Élégies : ⭐⭐
Sonnets: ⭐⭐⭐⭐
Testament de Louise Labé: ⭐⭐
Poèmes attribués à Louise Labé: ⭐⭐⭐
Le dialogue poétique entre Louise Labé et Olivier de Magny: ⭐⭐
Regards sur Louise Labé: ⭐⭐⭐⭐
Petit bémol, l'écriture "moyenageuse" a difficulté ma lecture parce que ça fatigue de chercher ce que tel mot veut dire, de penser qu'on comprend la phrase mais au final, non, mais j'ai quand même apprécier parce que je suis bien consciente d'être face à des écrits rescapés de l'oubli mais aussi d'une originalité et sensibilité incroyables
Le fait que ses ami.e.s ont écrit des sonnets en son hommage ♡
je veux la même chose maintenant hahah
January 28, 2024
Louise Labé j’aime beaucoup ton écriture franchement.
January 16, 2025
A relire pour possiblement remonter la note
December 23, 2025
Merci Louise d'avoir provoqué en moi l'évidence de la poésie quand j'étais adolescent.
August 28, 2024
le débat sur la folie et l’amour est un chef-d’œuvre
la défense d’amour prend la forme d’une éloge de ce dernier qui sépare totalement l’amour et la folie et met l’amour sur un piédestal (car créateur de bonnes choses, de l’amitié, de la famille, des arts…) tandis que folie est relayée au rang de destructeur et chaos
au contraire la défense de folie (sans caractère misogyne pour une fois) associe amour et folie comme deux choses qui ne font qu’une et qui ne peuvent exister l’un sans l’autre
malheureusement j’ai été moins porté par ses poèmes (dsl louise)
néanmoins je dis ntm à l’éditeur qui dit que les “amour lesbiens” mentionnés par louise n’ont aucune “connotation homosexuelle”
la défense d’amour prend la forme d’une éloge de ce dernier qui sépare totalement l’amour et la folie et met l’amour sur un piédestal (car créateur de bonnes choses, de l’amitié, de la famille, des arts…) tandis que folie est relayée au rang de destructeur et chaos
au contraire la défense de folie (sans caractère misogyne pour une fois) associe amour et folie comme deux choses qui ne font qu’une et qui ne peuvent exister l’un sans l’autre
malheureusement j’ai été moins porté par ses poèmes (dsl louise)
néanmoins je dis ntm à l’éditeur qui dit que les “amour lesbiens” mentionnés par louise n’ont aucune “connotation homosexuelle”
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December 19, 2021Je dois dire que je ne suis pas particulièrement sensible à la poésie de Louise Labé si ce n’est quelques poèmes dont « Tant que mes yeux pourront larmes épandre ».
Je reconnais le génie de cette poétesse qui aborde le thème de l’amour mais d’une manière assez innovatrice, elle réussit presque à retourner ce rapport de force du schéma amoureux traditionnel.
Rien que pour le génie de cette femme savante, érudite, qui a réussit à s’immiscer et à s’affirmer dans un monde littéraire majoritairement constitué d’hommes.
Je reconnais le génie de cette poétesse qui aborde le thème de l’amour mais d’une manière assez innovatrice, elle réussit presque à retourner ce rapport de force du schéma amoureux traditionnel.
Rien que pour le génie de cette femme savante, érudite, qui a réussit à s’immiscer et à s’affirmer dans un monde littéraire majoritairement constitué d’hommes.
June 5, 2025
Probably one of the most passionate and tormented French poet of the Renaissance. Her sonnets are absolutely beautiful, telling about the longings and satisfactions to be found in being in love. Her masterpiece, though, remains her Débat de Folie et d'Amour, a trial pitting Madness against Love after Madness blinded Love in an argument, and after Love demanded justice to the Gods. I won't spoil it, but if the arguments made in favour of Love and that made in favour of Madness are compelling (and surprising!) enough, the ultimate ending and ruling made by Jupiter, striking albeit ambiguous, is a fitting concluding...
It's a pity that her work was so sparse. As it is, we have only a debate (that between Love and Madness, then), a few sonnets, and 3 elegies. Now, true, this includes poems written by other famous poets of the time and in her honour (e.g. by Clément Marot, Jean-Antoine de Baïf, Pontus de Tyard etc.) but, given how her poetry and prose is so wonderfully compelling, I for one was craving for more!
All in all, then, poetry is obviously subjective and love poetry especially won't be for anyone. When it comes to French Renaissance, though, as far as I am personally concerned Louise Labé is right up there with Ronsard! One of the best French poets ever, whose book I highly recommend!
It's a pity that her work was so sparse. As it is, we have only a debate (that between Love and Madness, then), a few sonnets, and 3 elegies. Now, true, this includes poems written by other famous poets of the time and in her honour (e.g. by Clément Marot, Jean-Antoine de Baïf, Pontus de Tyard etc.) but, given how her poetry and prose is so wonderfully compelling, I for one was craving for more!
All in all, then, poetry is obviously subjective and love poetry especially won't be for anyone. When it comes to French Renaissance, though, as far as I am personally concerned Louise Labé is right up there with Ronsard! One of the best French poets ever, whose book I highly recommend!
September 23, 2020
Louise Labé’s poetry is passionate, heady and masterfully conceived. Her talent resides in her ability to follow in the footsteps of Italian poets, who showed her a path so that she could carve a place for herself on the lyrical scene.
Witty and profoundly evocative, her sonnets and various poetic pieces form such a coherent ensemble, such a compelling production that her persona continues to bewilder.
Was there a French Sappho from 1555, singing so poignantly of grief in the south of France ?
Can we conceive of such a thing ?
Personally, I don’t care for pessimism and post-modern suspicions. I prefer the tale of the woman who translated the Petrarchan paradigm and arranged it so it could meet Ovid’s Heroids, through her voice. I prefer to imagine our poet, illuminated by the frank light of a Mediterranean climate, occupying with ease the timeless position of the lyrical subject as she composed vibrant sonnets of longing.
I imagine her voice, lamenting : I live, I die, I burn, I drown... It rings with the charm and simplicity of a woman’s lament from another time.
It reminds me of this :
https://youtu.be/VSewYsf3uDs
Witty and profoundly evocative, her sonnets and various poetic pieces form such a coherent ensemble, such a compelling production that her persona continues to bewilder.
Was there a French Sappho from 1555, singing so poignantly of grief in the south of France ?
Can we conceive of such a thing ?
Personally, I don’t care for pessimism and post-modern suspicions. I prefer the tale of the woman who translated the Petrarchan paradigm and arranged it so it could meet Ovid’s Heroids, through her voice. I prefer to imagine our poet, illuminated by the frank light of a Mediterranean climate, occupying with ease the timeless position of the lyrical subject as she composed vibrant sonnets of longing.
I imagine her voice, lamenting : I live, I die, I burn, I drown... It rings with the charm and simplicity of a woman’s lament from another time.
It reminds me of this :
https://youtu.be/VSewYsf3uDs
June 11, 2024
Au cœur de la Renaissance française, période d'intense bouillonnement intellectuel et
artistique, émerge une figure littéraire singulière, audacieuse et mystérieuse: Louise Labé.
Poétesse remarquable du XVIe siècle, elle défie les conventions de son époque en exprimant avec
une grande sensibilité et un « je » au féminin les tourments de l'amour et les aspirations de l'âme
humaine. Surnommée « la Belle Cordière », Labé est célébrée encore aujourd’hui pour sa poésie
lyrique recueillie dans un ouvrage composé de discours, d’élégies et de sonnets.
artistique, émerge une figure littéraire singulière, audacieuse et mystérieuse: Louise Labé.
Poétesse remarquable du XVIe siècle, elle défie les conventions de son époque en exprimant avec
une grande sensibilité et un « je » au féminin les tourments de l'amour et les aspirations de l'âme
humaine. Surnommée « la Belle Cordière », Labé est célébrée encore aujourd’hui pour sa poésie
lyrique recueillie dans un ouvrage composé de discours, d’élégies et de sonnets.
March 29, 2018
Incredibly brave and daring for her time. A renaissance woman in a male dominated world where women were but objects to adore, she writes about her feelings and desires.
From today‘s perspective a bit difficult to read. And i am not the biggest dan of poetry from that time in general.
From today‘s perspective a bit difficult to read. And i am not the biggest dan of poetry from that time in general.
May 9, 2020
J’ai seulement lu les Élégies et les Sonnets! L’amour y est présenté comme une véritable souffrance, tel un sentiment ambivalent.
May 5, 2021
Tant de souffrances, tant de larmes espandues, tant de chagrins vécus, tant de temps perdu, tant de passions ardentes m'ont ennuyé jusqu'à la mort !
October 1, 2023
Les livres d’HLP>>>>livres de français
Du drama entre dieux dans débats de folie et d’amour Bahahah c’était trop fun même si le vieux français enlève 1 points
Sinon la poésie de Louise labe pépite
Du drama entre dieux dans débats de folie et d’amour Bahahah c’était trop fun même si le vieux français enlève 1 points
Sinon la poésie de Louise labe pépite
May 3, 2024
Je n’ai pas dutout été sensible à sa poésie, sans parler du fait que c’est infernal à lire.
July 16, 2011
Well, not sure if I thought it was 'beautiful' as my subject catagorey suggests, but it certainly was interesting... written hundreds of years ago by a french woman who rebelled against the conventions of her time and put her pen to paper.
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October 7, 2012C'est le genre même de livres où tu maudis ton prof pour l'avoir choisi, quoi...
July 12, 2016
*Read For School*
June 18, 2024
🤪🔥🧊🥵🥶Une description parfaite de l’état de mon esprit.
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January 28, 2019Sonnet I
"https://lyricstranslate.com/fr/sonnet...
Cruel destin ! Je suis victime d'un Scorpion,
Et je ne puis attendre un remède au poison
Que du même animal qui m'a empoisonnée !"
--Clearly a sex reference
Mais n'éteins pas en moi mon plus précieux désir,
Sinon il me faudra fatalement mourir."
--"mon plus précieux désir"
Sonnet VIII
"Je vis, je meurs ; je me brûle et me noie ;
J'ai chaud extrême en endurant froidure :
La vie m'est et trop molle et trop dure.
J'ai grands ennuis entremêlés de joie."
--Binarité; les doubles extrêmes d'émotion, le double rhyme
--Changement de 4 lignes à 3 après les deux premiers strophes
Les tourments de l'amour; les éléments des poèmes sont souvent en opposition
Parce qu’il est un sonnet, il y a quatorze lignes et chaque ligne a dix syllabes. Le schéma rimique est « ABBA » dans les première deux strophes et les deux dernières sont « AAB, CCB » avec les rimes à la fin de chaque ligne.
Double entente du mot "baise"
"https://lyricstranslate.com/fr/sonnet...
Cruel destin ! Je suis victime d'un Scorpion,
Et je ne puis attendre un remède au poison
Que du même animal qui m'a empoisonnée !"
--Clearly a sex reference
Mais n'éteins pas en moi mon plus précieux désir,
Sinon il me faudra fatalement mourir."
--"mon plus précieux désir"
Sonnet VIII
"Je vis, je meurs ; je me brûle et me noie ;
J'ai chaud extrême en endurant froidure :
La vie m'est et trop molle et trop dure.
J'ai grands ennuis entremêlés de joie."
--Binarité; les doubles extrêmes d'émotion, le double rhyme
--Changement de 4 lignes à 3 après les deux premiers strophes
Les tourments de l'amour; les éléments des poèmes sont souvent en opposition
Parce qu’il est un sonnet, il y a quatorze lignes et chaque ligne a dix syllabes. Le schéma rimique est « ABBA » dans les première deux strophes et les deux dernières sont « AAB, CCB » avec les rimes à la fin de chaque ligne.
Double entente du mot "baise"
This entire review has been hidden because of spoilers.
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