Louise Labé

Louise Labé was a French Renaissance poet whose 1555 works include sonnets, elegies, and a prose debate on love.

Sonnets: A sonnet is a fourteen-line poem governed by a formal pattern of rhyme and, often, meter. Labé’s collection is especially known for its sequence of twenty-four sonnets.
Lyon: Lyon is a French city at the confluence of the Rhône and Saône rivers and a major Renaissance center of commerce and printing. Labé lived and published in the city’s active mid-sixteenth-century literary culture.
Sonnet 18 (Louise Labé): Sonnet 18 is one of Louise Labé’s poems, beginning “Baise m’encor, rebaisse-moi et baise.” Its repeated pleas for kisses make bodily desire unusually direct within the collection.
Clémence de Bourges: Clémence de Bourges was a Lyonnaise woman to whom Louise Labé dedicated her 1555 collection. Labé’s dedicatory epistle addresses her as an example and advocate of women’s intellectual freedom.
Louise Labé authorship controversy: The Louise Labé authorship controversy concerns claims that her works were written or shaped by other authors. It challenges the customary attribution of the 1555 collection to Labé herself.
French Renaissance literature: French Renaissance literature comprises writing produced in France during the Renaissance, shaped by classical revival and European exchange. Labé wrote in a Lyon literary culture engaged with Renaissance humanism.
Jean de Tournes: Jean de Tournes was a Lyon printer and publisher active in the sixteenth century. He printed Labé’s Œuvres in 1555.
Sonnet 24 (Louise Labé): Sonnet 24 is the final sonnet in Louise Labé’s 1555 collection. Its closing position gives its account of poetic desire a framing role in the sequence.
Olivier de Magny: Olivier de Magny was a French poet associated with the literary culture of the mid-sixteenth century. His verse appears among the encomia accompanying the 1555 publication.
Authorial persona: An authorial persona is the constructed speaking identity through which a literary work presents a voice. Labé’s passionate lyric speakers cannot automatically be treated as direct autobiographical testimony.

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