These anonymous verses, penned some time in the twelfth century and recopied in the early fifteenth century, have recently redirected an authenticity debate that has been called “one of the most controversial areas of medieval studies.” Argued – not undisputedly – to have been written by Abelard and Heloise in the early stages of their love affair, these “lost love letters” shed important light on the epistolary situation in early twelfth-century France. They evidence the continued tradition of amatory Latin epistolary exchange in the twelfth century; a crossing over into prose of concerns more commonly addressed in verse, as examined in the previous chapter; and the exercise of the learned female voice in Latin. These two writers, identified only as “Mulier” (woman) and “Vir” (man), explore, among other topics, ineffability and contradiction in love. For them, language is insufficient to describe love, yet it is also the means by which they engage in continued enjoyment of it, demonstrated by the dozens of letters they wrote. This contradiction is mirrored in their “concertatio”: love is a contest with no single winner, because both lovers win. This epistolary competition and exploration of the nature of amatory relations resonates strikingly with some of the concerns in the correspondence of Abelard and Heloise, whose epistolary writings, I argue, extend our understanding of the parameters of medieval letters and their relationship to the medieval self. While the Baudri–Constance exchange illuminates some of the uses of literary and epistolary scripts, the Abelard–Heloise dossier aggressively mines letter-writing structures, vocabularies, and registers to voice contradictory desires and positions, and possibly, through shaping the expression of the self, even reshape the self.