a very partial and unfaithful translation on 12 April 1687, a text which would be included in the posthumous collected works of the writer. Alexander Pope, inspired by the English translation that the poet John Hughes made using the translation by Bussy Rabutin, brought the myth back into fashion when he published in 1717 the famous tragic poem Eloisa to Abelard, which was intended as a pastiche, but does not relate to the authentic letters. The original text was neglected and only the characters and the plot were used. Twenty years later, Pierre-François Godard produced a French verse version of Bussy Rabutin's text. Jean-Jacques Rousseau drew on the reinvented figure in order to write Julie ou la Nouvelle Héloïse, which his editor published in 1761 under the title Lettres des deux amans. In 1763, Charles-Pierre Colardeau loosely translated the version of the story imagined by Pope, which depicted Héloïse as a recluse writing to Abelard, and spread the sentimental version of the legend over the continent. An edition designed by André-Charles Cailleau and produced by the heiress of André Duchesne further spread amongst reading audiences a collection of these re-imaginings of the figure of Héloïse. Romantic period At the very beginning of the romantic period, in 1807, a neo-Gothic monument was constructed for Héloïse and Abelard and was transferred to the Cimetière de l'Est in Paris in 1817. In 1836, A. Creuzé de Lesser, the former Préfet of Montpellier, provided a translation of 'LI poèmes de la vie et des malheurs d'Eloïse et Aballard' which was published alongside his translation of the 'Romances du Cid' In 1836, the scholar Victor Cousin focused on Héloïse as part of his studies on Abelard. In 1839, François Guizot, the former minister for public education, published the posthumous essay of his first wife, Pauline de Meulan, as a preface to the hugely-popular first edition of the Lettres d'Abailard et d'Héloïse, which were transposed rather than translated into French and in two volumes illustrated by Jean Gigoux. In the same year, the colibri Héloïse (Atthis heloisa) is dedicated to her by the ornithologists René Primevère Lesson and Adolphe Delattre. In 1845, Jean-Pierre Vibert created a species of rose named after Héloïse. Following the romantic tradition, Lamartine published in 1859 a version of Héloïse et Abélard. In 1859, Wilkie Collins published the hugely popular novel The Woman in White, which relies on a similar story involving