Le Paradis Terrestre, Poème imité de Milton Londres, no publisher, 1760. 112pp. damaged ex libris on pasted endpaper, engraved portrait of Madame Dubocage, engraved frontispiece of two nude lovers, engraved vignette on engraved titlepage, title in red and black ink, engraved erotic vignettes on start of each chapter, half leather binding, front loose from binding. Anne-Marie Fiquet du Boccage, née Le Page, (22 October 1710 - 8 August 1802) was an 18th-century French writer, poet, and playwright. In February 1748, she published a translation in six cantos of John Stuart Milton's Paradise Lost, which she dedicated to the Rouen Academy. Voltaire and Fontenelle sang her praises, and the abbé de Bernis wrote some verse in her honour. Through this poem, she gained the public's interest and sudden fame. From the end of the 1740s until the 1760s, innumerable poems about her were published in the Mercure de France journal.Anne-Marie du Boccage more literary prizes than any other woman of her time. After the Rouen Academy in 1756, the Academy of Lyon made her a member on 20 June 1758. When she travelled to Italy with her husband, not only was she received by the Pope, but she was the second Frenchwoman, after Emilie du Châtelet, to be admitted to the two prestigious academies of Rome and of Bologna. Her friend Algarotti arranged for her to be received in the academies of Padua, of Florence and of Cortona. Anne-Marie du Boccage manifested a certain feminism and did not hesitate to support other women writers or artists. Erotica. l Poème en 6 chants rédigé par Marie-Anne Dubocage (dame Le Page, 1710-1802), femme de lettres française qui eut les honneurs de La Condamine, que Clairaut comparait à Madame du Châtelet et que Voltaire recevait chez lui, à Ferney. Forma Venus, arte Minerva était sa devise. Elle obtint pour cet écrit le Prix de l'Académie de Rouen en 1746, prix alternatif entre les Belles-Lettres et les Sciences. Sur les traces de Gessner elle écrivit la Mort d'Abel puis la Colombiade qui lui vaut les éloges de ses contemporains.