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Sinking in water, symbolic reflection of virtues, is like returning to the nurturing fountains of life to quench a thirst for knowledge and also to receive the sun rays reflected on it. This is the case of the attractive lady Pernette du Guillet who, unlike Louise Labé, has remained in men’s memory not only for her natural talent, but thanks to the spiritual permeation given to her by Maurice Scève, «son Jour», unquestionable chief of the Lyon Circle. Here, poetesses of the Renaissance had a major role. Most of her Rymes are a kind of love dialogue between them, where the liquid element plays an essential part. Pernette presents herself as crystaline as «l’eau de la claire fontaine», but deep inside her, she leads her poet to the opposite, thus creating a real dialogue between deaf people: each one of them loves the other with a deep and sincere love, but not in the same way. I will analyze these aspects contrasting the poem by Maurie Scève and that by Pernette du Guillet, especially his Elegy II, with the aim of proving the formal opposition between male

L’Amour à deux visages: el agua en Pernette du Guillet como reflejo del diálogo amoroso.