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Christine de Pizan (ca. 1364-1430?) was the first professional secular woman writer of late-medieval (or early modern) France. Despite her significance in global literary history, her lyric poetry has remained, for the most part, un-translated. For my dissertation, I have produced the first complete English translation of her poetic masterpiece, 100 Ballades of a Lady and a Lover (Cent Ballades d'Amant et de Dame, ca.1409-1410; hereafter CBAD), together with a critical introduction and annotations situating her work within its broader literary-historical context. In the introduction, I examine the CBAD in terms of three kinds of literary forms: lyric style, narrative structure, and manuscript sequence. I argue that the narrative structure of the CBAD can be traced back through the debate poems of Guillaume de Machaut and the trouv�res as well as the myth of Tiresias in the Ovide moralis� (a fourteenth-century adaptation of Ovid's Metamorphoses). In the sequence of texts that appear in the Queen's Manuscript--in other words, in the context of the collected works of Christine de Pizan--I observe that the CBAD is positioned as a final masterpiece, one that cites and even corrects some of Christine's previous writings on the subject of fin'amors. In terms of lyric style, I read the CBAD as an emulation of Guillaume de Machaut and Eustache Deschamps, especially the Voir Dit and Fontaine amoureuse of Machaut and the lays and virelais of Deschamps.