group of seven French writers of the 16th century, led by Pierre de Ronsard (Ronsard, Pierre de), whose aim was to elevate the French language to the level of the classical tongues as a medium for literary expression. La Pléiade, whose name was taken from that given by the ancient Alexandrian critics to seven tragic poets of the reign of Ptolemy II Philadelphus (285–246 BC), also included Joachim du Bellay (du Bellay, Joachim), Jean Dorat, Jean-Antoine (Dorat, Jean) de Baïf (Baïf, Jean-Antoine de), Rémy Belleau (Belleau, Rémy), Pontus de Tyard (Tyard, Pontus de), and Étienne Jodelle. (Jodelle, Étienne)

The principles of La Pléiade were authoritatively set forth by du Bellay in Défense et illustration de la langue françoise (1549), a document that advocated the enrichment of the French language by discreet imitation and borrowing from the language and literary forms of the classics and the works of the Italian Renaissance—including such forms as the Pindaric and Horatian ode, the Virgilian epic, and the Petrarchan sonnet. Du Bellay also encouraged the revival of archaic French words, the incorporation of words and expressions from provincial dialects, the use of technical terms in literary contexts, the coining of new words, and the development of verse forms new to French literature.

The writers of La Pléiade are considered the first representatives of French Renaissance poetry, one reason being that they revived the alexandrine verse form (composed of 12-syllable lines, rhyming in alternate masculine and feminine couplets), the dominant poetic form of the French Renaissance. The members of La Pléiade are sometimes charged with attempting to Latinize the French language and are criticized for inspiring the slavish imitation of the classics that occasionally occurred among their followers.