160Women in French Studies Finch's translations are simultaneously bold and elegant; this is notably the first translation of Labé's poetry that employs the original Italian rhyme scheme used by Labé rather than that of the English sonnet. Because of working within the confines of the rhythm and rhyme of the Italian sonnet in modem English, Finch's word choice may determine meanings that are left more nuanced in the original text. However, Finch succeeds at soliciting parallel emotional intensity, one of the hallmarks of Labé's poems. Overall, both translations at times favor readability and flow over precision, but never, in my opinion, to the extent that it compromises Labé's intent. After all, the beauty ofthe double-face style is that it compels the reader to examine and experience first-hand the sixteenth-century text in spite of varying levels of training and competency. Because ofits researched bibliography and extensive notes in addition to the knowledgeable textual presentation, this text will become the critical point de départ for critical studies on Labé's corpus for years to come. Appearing in tandem with the publication of Mireille Huchon's controversial study, Louise Labé : une créature de papier (Geneva: Droz, 2006), where she argues that Labé's works essentially amount to a literary hoax by an enthusiastic and playful group ofLyonnais male poets, students and scholars alike will utilize this edition as they ponder the mysteries of one of the most remarkable females of the Northern European Renaissance. Sinda K. VanderpoolBaylor University Lafayette, Marie-Madeleine Pioche de la Vergne, comtesse de. Zayde: A Spanish Romance. Ed and trans. Nicholas D. Paige. The Other Voice in Early Modern Literature. Chicago: University of Chicago Press, 2006. Pp. ix-xxix; 210. ISBN: 978-0-226-46851-8. $45.00 (Cloth). ISBN: 978-0-22646852 -5. $18.00 (Paper). As a dix-septièmiste who has studied the early modern novel, I am delighted with this latest addition to the series The Other Voice in Early Modem Europe, published by the University of Chicago Press. Fellow dix-septièmiste Nicholas Paige has brought us an English version of Madame de Lafayette's Zayde, the first translation available in more than 200 years. It contains the translated novel, two introductions and two bibliographies. The series editors' introduction, by Margaret L. King and Albert Rabil Jr., provides an historical and cultural overview of early modern Europe and in particular the role of the "other voice." A section entitled "The Old Voice and the Other Voice" is followed by "Traditional Views of Women, 500 BCE-1500 CE," which discusses Greek, Roman, and Medieval perspectives, including the importance of Christianity, economic concerns, and family roles. The Introduction concludes with "The Other Voice, 1300-1700," which addresses humanism, Christine de Pisan's Book of the City of Ladies, the querelle des Book Reviews1 6 1 femmes, the witch trials, women authors, women patrons, and issues of chastity, power, speech, and knowledge. Next comes Paige's volume editor's introduction, which contains three categories: his reflections on "the other voice," a biographical sketch of Madame de Lafayette's life and works, and an analysis of Zayde itself. There is an especially useful summary of the history of the novel and the marginalization of its non-realist sub-genres, in which Paige notes that it is no accident that these now lesser-known genres were often associated with women. Key amongst these is the romance, popular in France in the first part of the seventeenth-century and made famous by Honoré d'Urfé's L 'Astrée. While the genre was later dismissed, in its day the romance was well-respected and even considered to be a virtual catalog of the knowledge of the time. Thus, Paige suggests, it is not surprising that a literary icon such as Lafayette should choose to take it up. However, as with many of her works, Lafayette herself never openly admitted to authoring Zayde. The novel was instead attributed to Jean-Regnault de Segrais; it was only after her death that Segrais would reveal Lafayette's authorship oíZayde. Paige proposes that the text be read as a "pastiche of romance." Although...