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Debat de Folie Et D'Amour
Jupiter faisoit un grand festin, ou estoit commande a tous les Dieus se trouver. Amour et Folie arrivent en mesme instant sur la porte du Palais: laquelle estant ja fermee, et n'ayant que le guichet ouvert, Folie voyant Amour ja prest a mettre un pied dedens, s'avance et passe la premiere. Amour se voyant pousse, entre en colere: Folie soutient lui apartenir de passer devant. lls entrent en dispute sur leurs puissances, dinitez et preseances"
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First published January 1, 1995
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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 - 3 of 3 reviews
July 18, 2024
tellement intéressant (la présentation GF est folle), j’ai trop hâte de l’étudier en cours !! et malgré le moyen français qui ralentit un peu la lecture j’ai trop aimé
Louise Labé t’es vraiment une reine🔥🔥…
Louise Labé t’es vraiment une reine🔥🔥…
January 21, 2022
Un peu de difficulté à rentrer dedans avec ce moyen français qui m'as donné mal aux yeux mais c'est magnifique. Tout en féminité. Je regrette de ne pas avoir pris le temps de lire Louise Labé plus tôt.
July 14, 2024
Mêlant la tradition philosophique centrée autour de la question de l'amour (Le Banquet) et l'émergence de la révolution religieuse instiguée par Érasme (Éloge de la folie), Louise Labé propose, au sein de ces cinq discours, une réflexion étiologique sur les liens intrinsèques entre la folie et l'amour par le recours à l'allégorie.
Le parti pris est volontairement provocateur. Bien qu'à l'issue du "procès" entre Folie et Amour ne soit nommé aucun vainqueur, la rhétorique de Mercure défendant Folie se veut bien plus convaincante et rigoureuse que ne l'est celle d'Apollon, défenseur d'Amour, dont le discours porte en lui-même grand nombre de contradictions.
Le discours annonce de nombreuses thématiques reprises par la suite dans les Élégies de Louise Labé, telles que les motivations des femmes écrivaines, l'image de la femme insensible ou bien encore la place du désir charnel dans l'amour.
Une porte d'entrée relativement accessible à la littérature du XVIe siècle, notamment grâce à la contextualisation et à l'abondance de notes fournies par les éditions GF.
Le parti pris est volontairement provocateur. Bien qu'à l'issue du "procès" entre Folie et Amour ne soit nommé aucun vainqueur, la rhétorique de Mercure défendant Folie se veut bien plus convaincante et rigoureuse que ne l'est celle d'Apollon, défenseur d'Amour, dont le discours porte en lui-même grand nombre de contradictions.
Le discours annonce de nombreuses thématiques reprises par la suite dans les Élégies de Louise Labé, telles que les motivations des femmes écrivaines, l'image de la femme insensible ou bien encore la place du désir charnel dans l'amour.
Une porte d'entrée relativement accessible à la littérature du XVIe siècle, notamment grâce à la contextualisation et à l'abondance de notes fournies par les éditions GF.
Displaying 1 - 3 of 3 reviews