Catherine des Roches, poet, writer and salon hostess of late-sixteenth-century Poitiers, has been identified by scholars as one half of the Dames des Roches. She exercised a level of freedom from her deliberately unmarried and childless lifestyle, and her choice to stay with her mother, Madeleine, up until her own death. In fact, both women exercised a surprising level of autonomy, partly through writing and publishing their works in print: Les Œuvres (1579), Secondes Œuvres (1583) and Les Missives (1586). These works, containing poetic and prose works, and correspondence, established the duo’s fame, as evidenced by the recent edition of Les Missives by Anne R. Larsen whose appendix situates interest in them across the centuries.1¹ Catherine in particular has received attention as a writer and poet in her own right, showing herself to be a free thinker in writing.2² Despite this attention, most scholars have neglected to study the importance of motherhood in her life story and works, instead attributing this to Madeleine. Anne Larsen briefly mentions Catherine’s self-depiction as a mother of her literary works, a topos used by the Pléïade poets as a Platonic journey to proudly accentuate the ‘ongoing sustenance of their production’.3³ Building on Larsen’s work, I explore the degree to which Catherine employs the book-as-child topos in her poetry to reconfigure herself as a literary mother.

中文翻译：

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A Mes Escrits, a Mes Enfans: Catherine Des Roches 和 Book-as-Child Topos

凯瑟琳·德·罗什 (Catherine des Roches) 是 16 世纪后期普瓦捷的诗人、作家和沙龙女主人，学者们认为她是 Dames des Roches 的一半。她从她刻意未婚和没有孩子的生活方式中获得了一定程度的自由，她选择和她的母亲玛德琳在一起，直到她自己去世。事实上，这两位女性都行使了惊人的自主权，部分是通过写作和出版印刷作品：Les Œuvres (1579)、Secondes Œuvres (1583) 和Les Missives (1586)。这些包含诗歌和散文作品以及书信的作品确立了二人组的名声，正如最近版本的安妮·拉森 (Anne R. Larsen)的《密信》( Les Missives)所证明的那样，该书的附录显示了几个世纪以来人们对它们的兴趣。¹特别是凯瑟琳作为一名作家和诗人，以她自己的身份受到了关注，这表明她在写作方面是一个自由的思想家。^{2 2}尽管受到了这种关注，但大多数学者都忽略了研究母性在她的生活故事和作品中的重要性，而是将其归因于玛德琳。安妮·拉森 (Anne Larsen) 简要提到了凯瑟琳 (Catherine) 作为她文学作品之母的自我描述，Pléïade 诗人将这种主题用作柏拉图式的旅程，以自豪地强调“他们作品的持续支持” ^{。3 3}以拉森的作品为基础，我探索了程度对此，凯瑟琳在她的诗歌中运用了童书的主题，将自己重新定位为文学母亲。