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The stanza is often overlooked in studies of poetics, and this tendency is even more pronounced during the Renaissance, where it is practically absent from rhetorical treatises. Despite this theoretical neglect, the usage, dating back to Marot, has clearly demonstrated the extent to which poets exploit this scale of verse combination to carry out their lyrical experiments. Agrippa d'Aubigné is not exempt from this poetic exercitatio, as evidenced by the considerable variety of strophes at work in the Odes of Le Printemps. Building upon this reconstructed corpus, this article aims to illustrate how the stanza of the ode constitutes a privileged place for the poet in terms of rhythmic, syntactic, and sonic composition. [ABSTRACT FROM AUTHOR]

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