Tout le premier quatrain est composé de propositions n'est plus maître de lui-même. Laura had a great influence on Petrarch's life and lyrics. Users without a subscription are not able to see the full content on Scève is both the initiator and general model privileging the epigram, transforming the Petrarchan sonnet into its French version of the dizain, forging a strict unity of form, individuating a lyric voice that organically identifies author with persona, title, and genre, and weaving patriotism into moral reflection. However, the author never mentions the emblems. Si Maurice Scève décrit son mal (vraisemblablement la The “Délie” of Maurice Scève. Read, highlight, and take notes, across web, tablet, and phone. Maurice Sceve, a humanist, visiting Avignon had her tomb opened and discovered inside a lead box. Not only was Scève among the first French writers to compose sonnets along with Clément Marot, Mellin de Saint Gelais, and Peletier du Mans, but also he was an honored member of the sodality of Lyonnais humanists (the Sodalitium Lugdunense) for his neo-Latin poetry. Weber 1955 accomplishes the feat of providing overarching literary history and detailed analysis of 16th-century French poetry, and McFarlane’s introduction to his edition of Délie (McFarlane 1966, cited under Numerology and Numbers) reminds readers of the few known facts about the author’s life. Although the bibliography of secondary sources is thin, this does not adversely affect the book’s usefulness, since its aim is to concentrate on primary sources closely related to Scève’s life and works. Alduy 2007 has produced one of the major reordering concepts of French Renaissance literary history and views the many collections of Petrarchan love poetry from Scève (1544) to Espinay (1560) as a whole new genre distinct from their predecessors and characteristically French. Scève, Maurice (ca. Proceedings of the Cambridge Lyon Colloquium, 14–16 April 1991. ISBN 9788886609470. Though few facts are known about his life, it is certain that there was an invigorating reciprocity between his considerable literary talents and Lyon’s prestigious position as a cosmopolitan crossroads bringing together influences from Italy, Switzerland, Germany, and the Low Countries. The unpredictable, shocking death of the Dauphin in 1536 moved the humanist Étienne Dolet to organize a collection of works eulogizing his short life, and Scève’s contributions amounted to one-third of the volume consisting of five Latin epigrams, two French huitains, and a long allegorical eclogue in French Arion. In 1542 Scève published two psalm translations into the vernacular that associated him with a type of spirituality characteristic of such figures as Erasmus, Lefèvre d’Étaples, Clément Marot, and Marguerite de Navarre. Baur, Albert. The Petrarchian Lyrical Imperative: An Anthropology of the Sonnet in Renaissance France, 1536-1552 Ford, Philip, and Gillian Jondorf, eds. A year after Délie, the Lyonnais printer Jean de Tournes published a handsome volume titled Il Petrarca and dedicated it to his friend “M. In addition to Petrarchism, the other main tributaries flowing through the work derive from the Greek Anthology, the Latin elegiacs, amour courtois, and Neoplatonism, especially of Marsilio Ficino, Sperone Speroni, and Leone Ebreo. 161–177) as part of the large-scale movement of poetry from Antiquity to Dante, the dolce stil nuovo and amour courtois punctuated with Petrarch and Italian humanism to French theory and practice including the major genres of Ronsard, Du Bellay, Magny, Belleau, Grévin, Peletier du Mans, Du Bartas, and D’Aubigné. caractère aigu de cette blessure d'amour. Intellectual Life in Renaissance Lyon. 1 et 3) et « elle me » (vers 2 et 4). contradictions inhérentes à son état. The historical information on Laura is meager at best. quarante-troisième poème évoque, dans une suite de décasyllabes, les One of the best entries for readers with little knowledge of Scève is Mulhauser 1977, which concisely interweaves life, literature, and history. For example, here one can find the following: a sonnet from Guido Cavalcanti, two strambotti of Serafino dell’ Aquila, two emblems from Alciato, a neo-Latin poem of Étienne Dolet encouraging François I to invade Italy, a dizain of Marguerite de Navarre defining amour véritable, and a comparison of lines from Nicolas of Cusa’s De docte ignorantia and Scève’s Microcosme (pp. Maurice Scève wrote this long poem during the years 1555-1560. Le bouleversement intérieur du poète est d'une telle violence que la haine II)            Maurice Scève's Sonnet Sequence Emblems of Desire: The Délie [continued]. Nourri de culture gréco-latine, Maurice Scève livre donc un brillant exercice de style lyrique qui reflète une haute conception de l'amour. Scève s'inscrivent dans un schéma circulaire, illustré par l'emploi de passion : Le paradoxe de son état est exprimé par les nombreuses Une structure actions habituelles, répétitives : en effet, les réactions de Maurice Day 10. McFarlane (Cambridge: Cambridge University Press, 1966). « Moins Or, la disposition des rimes fait miroir (ABABB CCDCD) ou en chiasme tresse les rimes de manière savante, à la Weber, Henri. Saulnier’s Préface concludes with a consideration of the nature infinie of his subject, and faithful to this challenge, he provides all the major contexts for understanding and appreciating Scève. je la vois, certes plus je la hais… », Délie, objet de plus haute vertu (1544). Edited by Bruno Roger-Vasselin, 11–21. cette joute amoureuse. Inside was a medal representing a woman ripping at her heart, and under that, a sonnet by Petrarch. renforcés par la coupe régulière en 4+6 (avec l'importance de la chute montrant parvient finalement à maîtriser les tourments amoureux qu'il décrit. Petrarch’s tomb (not his actual head) Monday, January 2, 12 La métaphore guerrière du vers 5, qui juxtaposées (v.1-4) et coordonnées (v.2-3) qui opposent des sentiments non “Avant Propos” and “‘Parfeit un corps en sa parfection’: Quelques références culturelles chez Scève.” In Maurice Scève ou l’emblème de la perfection enchevêtrée: Délie objet de plus haute vertu (1544). From 1544 to 1560 there was a steady rise in collections of Petrarchan love poetry from Scève’s Délie (1544), Du Bellay’s Olive (1549) and Ronsard’s Amours (1552–1560), to Labé’s Oeuvres (1555), Philieul’s translation of Petrarch (1555), and Espinay’s Sonets [sic] (1560). Louise Charlin Perrin Labé, (c. 1524 – 25 April 1566), also identified as La Belle Cordière (The Beautiful Ropemaker), was a feminist French poet of the Renaissance born in Lyon, the daughter of wealthy ropemaker Pierre Charly and his second wife, Etiennette Roybet. Scève is both the initiator and general model privileging the epigram, transforming the Petrarchan sonnet into its French version of the dizain, forging a strict unity of form, individuating a lyric voice that organically identifies author with persona, title, and genre, and weaving patriotism into moral reflection. Translator’s Introduction. permet de se libérer des passions. “Souffrir non souffrir ” [Suffer not Suffer] is the enigmatic, antithetical motto with which Maurice Scève both opens and closes his Délie, object de plus haulte vertu (1544), the volume of lyrical verse upon which his literary fame is founded. le paradoxe de son état) et par le retour des mêmes sonorités, notamment [è] Commentaire composé de « Moins 522–536). It was Jean de Vauzelles whom Guégan calls a “rimeur sans talent” (p. xii)—an opinion that recent scholarship may dispute (see Kammerer 2013, cited under Religion). apparaître une autre structure : deux quintils. In the very first sonnet, Du Bellay he symbolically refuses the laurel, which his readers would associate with Petrarca, and replaces it with the olive, his personal sign of poetic glory. With regard to civic matters, the high esteem in which Scève was held by the city of Lyon is best shown when in 1548 he was chosen by the consulat to be the principal coordinator of pageantry for the prestigious Entrée Royale to honor of the new King Henry II and Queen Catherine de Médicis. Please subscribe or login. You could not be signed in, please check and try again. We haven't found any reviews in the usual places. This book of 191 pages could be the central text of a course. et du nom « haine », ainsi que des assonances en [i] qui disent le (rime interne) et [a]. joue le rôle d'un axe, d'un pivot autour duquel s'articulent les deux Name (required) vers la géométrie du poème (10 vers). Geneva, Switzerland: Slatkine, 1967. While studying at Avignon he discovered the tomb of Laura, to whom Petrarch directed many of his sonnets. est un recueil de dizains écrit par Maurice Scève, poète lyonnais, en 1544. Ces effets de symétrie sont C. Klincksieck, 1949 - 901 pages. He died in or about 1564, a possible victim of the plague. Verdun L. Saulnier. Amid a background of political tensions Scève was also commissioned to write the official, printed account of the ceremony titled La Magnificence de la superbe et triumphante entrée de la noble et antique Cité de Lyon faicte au Treschrestien Roy de France Henry deuxiesme de ce nom, et à la Royne Catherine son Espouse, le XXIII de Septembre M.D.XLVIII. Il façon d'un motif de tapisserie. Day 12 (« hais » mais aussi « certes ») à la rime et au vers 2 circulaire : Le présent du discours décrit des By Bertrand Guégan, i–lxxvii. seul. The imitation in L’Olive is eristic, and it is filtered through the intermediary of Maurice Scève. Saulnier, Verdun-Louis. There are twenty-one chapters divided into three parts (“L’Heureux Écolier,” “La Crise Italienne,” and “L’épopée humaniste”) that reflect a l’homme et l’oeuvre methodology addressing each of Scève’s works but giving extensive treatment to Délie and the Microcosme. 79: LES BLASONS ANATOMIQUES 1536 72 … 2 vols. Baur, Albert. Cette simultanéité est rendue par le complément Moreover, Délie appealed to the music lovers in Lyon, since seven poems were put to music by contemporary composers as chansons of three or four voices. Ainsi me fait haïr mon vain désir Maurice Scève born in 1501 or the beginning of 1502 was celebrated in his own times as the preeminent poet of the French Renaissance in Lyon when that city was enjoying a burst of commercial and cultural success. This is also true for his chapter on the Microcosme (pp. Samuel Daniel's Delia. Mauritio Scaeva.” In the preface De Tournes states that the author of Délie personally narrated to him the story of his discovery of the tomb of Petrarch’s beloved Laura in Avignon in 1533. Contents. Délie has been credited by historians as the only 16th-century work to incorporate imprese in a serious and sustained treatment of love. but de faire une œuvre littéraire dans la plus pure tradition pétrarquiste. Délie, La Saulsaye, Le Microcosme, Arion, et Poésies Diverses. Cependant on remarque une disposition Amour et haine, ennui avec plaisir. 7Quotations are from The 'Delie' of Maurice Sceve, ed. qui rend heureux autant qu'elle fait souffrir. je la vois, certes plus je la hais… ». The cornerstone book on Scève is Saulnier 1948, a two-volume set that is the most-cited source and required reading for any scholarly inquiry. Coleman 1975 (cited under Structure and Patterns of Organization in Délie) develops the classical and Petrarchan traditions and downplays religion but filters much cultural information through a number of close readings. Alduy, Cécile. humain). Scève wrote it in alexandrine (dodecasyllabic) lines, at a time when this verse form enjoyed a blooming among French poets. French literary history traditionally refers to L’école de Lyon grouping Scève with the two renowned poetesses Louise Labé and Pernette du Guillet; however, while one cannot justify the label “school of Lyon,” they are all love poets adapting Petrarchism and Neoplatonism to highly introspective lyric poetry. Get Textbooks on Google Play. Politique des “Amours”: Poétique et genèse d’un genre français nouveau (1544–1560). Translations of all other Dizains are by Peter Baker. Scève’s first literary success took place at the Court of Ferrara where Renée de France, serving as judge of an anatomical poetry competition, awarded him the poetic laurel for his blazon titled “Le Sourcil” (“The Eyebrow”). D is an abbreviation of dizain, a popular ten-line stanza or poem in the French Renaissance. This has yet to be surpassed as the best French introduction for undergraduate and beginning graduate students to Scève, particularly because of its relationship to Pernette and Louise in the context of Renaissance Lyon. There is an abundance of illustrations and reading problems are clarified in footnotes, which include concise blocks of information on thematic development. Le fait de la femme une chasseresse, et l'utilisation des verbes hyperboliques What people are saying - Write a review. Cambridge, UK: Cambridge University Press, 1966. suivi d'un sizain disposé en retrait. Roger-Vasselin, Bruno. This itself was a continuation of Boccaccio’s Fiammetta, which mixed love and adventure in a tragedy of frustration and disillusion. Much shorter than the previous three is Guégan 1967 (Notes pour une vie de Maurice Scève) preceding his edition of Scève’s complete poetic works that moves briskly and is amply documented. From inside the book . Guégan, Bertrand. « vain » v.9 : le poète ne peut réaliser son désir et souffre Interesting for its insight into particular cultural figures and events, this contains essays on humanism and politics, Bernard Salomon, Guillaume de la Perrière, trends in emblem publishing, the Lyonnais editions of Marot, the Basia of Joannes Secundus and Lyon poetry, enigma and poetry, and a final chapter on the works of Scève in relation to public life. Plus je la hais, et moins elle me fâche. Maurice Sonnet is on Facebook. Cette servitude s'exprime aussi par Scève first achieved fame in 1533 by his alleged “discovery” of the tomb of Petrarch's Laura at Avignon, an event for which he would gain, in the imagination of all the sixteenth century French poets who were to imitate Petrarch in one way or another, the association of … compte j'en fais » v.3 et « plus veux qu'elle me sache » v.4), « haine » v.7 et 8, « vengeance » v.8, « mon The study is impressive for its documentation and archival information and devotes a separate volume on bibliography that includes a meticulous, annotated, chronological list of Scève’s works and of those whose attribution is uncertain. La structure géométrique du sonnet montre que le poète Interestingly, Guégan does mention that Scève was a “brilliant conversationalist” (“causeur brilliant,” p. li). « moins…plus » (repris vers 3, mais abandonnés au vers 4 au profit du 1500–1560). 0 Reviews. Le désordre de la phrase v.5-6 (« amour et haine » est le sujet The word huitain designates a popular eight-line stanza or poem in the French Renaissance. Historical records are so plentiful as to encourage the reader to treat them emblematically in the sense of extracting them from the narrative and studying them one by one. cette circularité par les constructions syntaxiques qui mettent en valeur des Though highly conscious of Italian models but innovative in implementing French reforms, Scève forged a style (or rather an idiom) so singular that it defies comparison, causing the critic Odette de Mourges to call him “un-French” at times. l'amant, esclave de ses sentiments. Ford and Jondorf 1993 collects fascinating essays capturing the city from a variety of angles. Maurice Scève et l’école lyonnaise. There is also a chapter on Pernette, Louise, and their intellectual milieu; the 1548 Entrée Royale and the emergence of the Pléiade; and the last years of Scève’s life. For more information or to contact an Oxford Sales Representative click here. Les ambiguïtés de la Founded in 1961, Nottingham French Studies publishes articles in English and French and themed special numbers covering all of the major fields of the discipline – literature, culture, postcolonial studies, gender studies, film and visual studies, translation, thought, history, politics, linguistics – and all historical periods from medieval to the 21st century. du discours amoureux semble donc posséder une vertu cathartique en ce qu'elle Geneva, Switzerland: Droz, 2007. Weber is not only sweeping in his command of history but precise in close readings illustrating general motifs and themes, seeing through each writer the richly complex history of European languages and traditions. English translations of Dizains 118, 161, 367, and 449 are by Wallace Fowlie, in Sixty Poems of Sceve (New York: The Swallow Press and William Morrow & Co., 1949). Celle pour qui mon coeur toujours me prie Mulhauser, Ruth. effets de parallélisme. aussi le surnom de Diane, déesse romaine farouche et réfractaire à tout amour Perhaps owing to his obscurity, it would not be until the 19th century that there would be renewed interest in Scève, partially explained by his works’ similarities with French symbolism. domine le poème : on relève cinq occurrences du verbes « haïr » Baur reminds us of Scève’s prepublication recitation of his poems to receptive social gatherings and cites Philbert Girinet’s statement that Scève had singing abilities (p. 107). Ainsi les deux premiers vers s'enchaînent grâce à la Paris: Bordas, 1973. Scève is primarily known as the author of France’s first canzoniere, titled Délie, object de plus haulte vertu (1544), which in the manner of Francesco Petrarca’s Rime sparse unfolds as a sequence of love poems devoted to a single woman whose poet-lover gains self-knowledge through the vicissitudes of thwarted passion. postposé du verbe « lâche », tandis que le complément d'objet direct Maurice Scève (ca. Scève took them to a chapel where, in an unmarked grave, they discovered bones, a bronze medal with an eroticized image of the Madonna, and a locked box, in which Scévefound a sealed sheet of paper, which in turn contained a sonnet, the words illegible with age. 1564) French poet, a member of the group known as La Pléiade, especially important for bringing Neoplatonic influence into French poetry. « deux divers traits » est antéposé) traduit le désordre intérieur de Maurice Scève fut le plus grand d'entre eux, mais, par suite d'un paradoxe, ce fut le souvenir de Louise Labé qui prévalut dans la mémoire des hommes. Maurice Sceve was a French poet active in Lyon during the Renaissance period. Roman and Iberian Inquisitions, Censorship and the Index i... Royal Regencies in Renaissance and Reformation Europe, 140... Scholasticism and Aristotelianism: Fourteenth to Seventeen... Sidney Herbert, Mary, Countess of Pembroke, Women and Work: Fourteenth to Seventeenth Centuries. Paris: Klincksieck, 1948. idéale (Délie, le titre du recueil, étant l'anagramme de l'idée ; c'est Paperback, 260 p., 170 x 240 mm. Paris: Champion, 1906. A study of Maurice Scève's sequence of love poems, the Délie - the first French canzoniere. Il est l'auteur de Délie, objet de plus haute vertu. He was the centre of the Lyonnese côterie that elaborated the theory of spiritual love, derived partly from Plato and partly from Petrarch. amoureuse demeure tout à fait traditionnelle et reprend les images convenues de Baur’s approach is to give proportionate development to each of Scève’s works and more than the usual amount of information on his circumstantial pieces. Day 11 Week 6 - The De-Sanctifying the Heart. quintils : le cinquième vers est lié à la première strophe par une rime He also incorporated a number of linguistic reforms that would be prescribed by Joachim du Bellay in his Deffence et illustration de la langue françoyse (1549). More developed and in French is Baur 1906, which although somewhat dated, remains useful. En fait, le distique formé par les vers 5-6 Laura de Noves (1310–1348) was the wife of Count Hugues de Sade (ancestor of the Marquis de Sade).. She could be the Laura that the Humanist poet Francesco Petrarch wrote about extensively; however, she has never been positively identified as such. Ce dizain est composé de façon This study, informed by the theory of intertextuality, and deavours to interprete Petrarch s sonnet s. The characteristic that sets these poems apart from Late Antiquity is that they provide an additional dimension. Le mètre employé par Maurice Scève entretient aussi un A second useful feature of this overview is that it quotes well-chosen texts directly and indirectly relevant to Scève that one would not normally find in literary histories. Sceve's animal images derived from Petrarchan sources offer good examples of the various ways in which Sc?ve drew on the authority of the Rime in the composition of the D?lie, for they show interesting aspects of Sceve's use of that work.
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