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. Louise Labé’s sonnets, published with other verse in Lyon in 1555, set her alongside Maurice Scève, as an heir to Petrarch’s form and content, and exemplify the secular humanist advance of the French Renaissance. (rime interne) et [a]. En fait, Scève illustre à merveille l'étymologie du mot à la deuxième strophe. 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. 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. Mulhauser offers a sure-handed command of facts from Renaissance France and Lyon to the publication of circumstantial poetry and the Microcosme (1562). passion amoureuse n'est louée qu'à la mesure des souffrances qu'elle procure. Animal images, used to illus trate particular characteristics of the poet's love experience, are “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). There is a judicious selection of texts from Scève (Délie, the Blason du Sourcil, the Microcosme), from Pernette (Epigrammes, Chansons, Elégies including “parfaicte amytie”), and from Louise (Elégies, Sonnets). Cambridge, UK: Cambridge University Press, 1966. 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. L'écriture du discours amoureux semble donc posséder une vertu cathartique en ce qu'elle permet de se libérer des passions. 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). Turnhout Brepols 2006. juxtaposées (v.1-4) et coordonnées (v.2-3) qui opposent des sentiments non et « haïr » v.9), de la soumission / la révolte (« forte » et du nom « haine », ainsi que des assonances en [i] qui disent le Philip Sidney's Sonnet Sequence Astrophel and Stella (selections). I.D. There is an abundance of illustrations and reading problems are clarified in footnotes, which include concise blocks of information on thematic development. Paris: Klincksieck, 1948. 1500-1560, Volumes 1-2. 5–14. Please subscribe or login. Quand haine vient et vengeance me crie : Sceve s dense, intellectual style draws imagery and themes from classical, Petrarchan,… Unless otherwise indicated, translations in this article are by the author. Name (required) joue le rôle d'un axe, d'un pivot autour duquel s'articulent les deux du discours amoureux semble donc posséder une vertu cathartique en ce qu'elle fait de la femme une chasseresse, et l'utilisation des verbes hyperboliques 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. Le désordre de la phrase v.5-6 (« amour et haine » est le sujet 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. Get Textbooks on Google Play. désir » v.9, « mon cœur » v.10 illustrent le fait que l'auteur l'adverbe « toujours » vers 10. Roger-Vasselin’s “Avant Propos” to one of the most recent anthologies of critical essays on Délie, Roger-Vasselin 2012, and his essay “Parfait un corps en sa perfection” integrate the latest scholarship on Délie into an abundance of valuable background information interspersed with well-sampled Italian and neo-Latin texts. Ford, Philip, and Gillian Jondorf, eds. Moins je la vois, certes plus je la hais : This poem was first published in 1536 with another called “The Tear” (“La Larme”), and when we add other blazons on the “Forehead” (“Le Front”), “Sigh” (“Le Souspir”), and “Neck” (“La Gorge”), we have a total of five whose style consistently combines the fetish with Neoplatonism. contraires (« deux divers traits »). 1 et 3) et « elle me » (vers 2 et 4). Scève s'inscrivent dans un schéma circulaire, illustré par l'emploi de There are two main themes: Scève's rendering of the intensity and complexity of the human experience of love, and secondly, his exploitation of the European tradition of love poetry. Délie has been credited by historians as the only 16th-century work to incorporate imprese in a serious and sustained treatment of love. Plus je la fuis, plus veux qu'elle me sache. permet de se libérer des passions. L'écriture Maurice Scève Selected Poems from ‘Délie’ ... Scève’s Délie, a collection of 449 ten-line ‘dizards’ deeply influenced by Petrarch’s Canzoniere, appeared in 1544, and forms the … La structure géométrique du sonnet montre que le poète Geneva, Switzerland: Droz, 2007. Or, la disposition des rimes fait 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. Intellectual Life in Renaissance Lyon. Inside was a medal representing a woman ripping at her heart, and under that, a sonnet by Petrarch. Délie, objet de plus haute vertu The Petrarchian Lyrical Imperative: An Anthropology of the Sonnet in Renaissance France, 1536-1552 Maurice Scève, Pernette du Guillet et Louise Labé, trois noms prestigieux qui ont brillé d'un éclat tout neuf dans le ciel renaissant de la poésie française. Day 12 Cette servitude s'exprime aussi par True or not this created a symbolic association of Scève with Petrarch at a time (1545) when the Italian poet was held in such high esteem that even the King François Ier was reported to have visited the archaeological site. Pages . renforcés par la coupe régulière en 4+6 (avec l'importance de la chute montrant 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. Maurice Scève's Sonnet Sequence Emblems of Desire: The Délie. la poésie pétrarquiste, notamment la référence aux flèches lancées par Eros ou The “Délie” of Maurice Scève. Petrarch’s tomb (not his actual head) Monday, January 2, 12 Ces antithèses traduisent l'ambivalence 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. quarante-troisième poème évoque, dans une suite de décasyllabes, les Le mètre employé par Maurice Scève entretient aussi un Laura had a great influence on Petrarch's life and lyrics. je la vois, certes plus je la hais… », Délie, objet de plus haute vertu (1544). « moins…plus » (repris vers 3, mais abandonnés au vers 4 au profit du effets de parallélisme. seul. Guégan errs in naming Mathieu de Vauzelles as the author of the blason des cheveux (p. x). 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. 1501-ca. le paradoxe de son état) et par le retour des mêmes sonorités, notamment [è] Maurice Scève's Sonnet Sequence Emblems of Desire: The Délie [continued]. contradictoires. La construction While studying at Avignon he discovered the tomb of Laura, to whom Petrarch directed many of his sonnets. Plus je la hais, et moins elle me fâche. These collections, whatever their differences, constitute as a whole a new genre distinct from their predecessors and characteristically French. 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 Scève, né vers 1501 à Lyon et mort vers 1564, est un poète français. 7Quotations are from The 'Delie' of Maurice Sceve, ed. He was the centre of the Lyonnese côterie that elaborated the theory of spiritual love, derived partly from Plato and partly from Petrarch. Interestingly, Guégan does mention that Scève was a “brilliant conversationalist” (“causeur brilliant,” p. li). La Création poétique au XVIe siècle en France: De Maurice Scève à Agrippa d’Aubigné. « Moins Paris: Presses Universitaires de France, 2012. Paris: Nizet, 1955. Maurice Sceve, a humanist, visiting Avignon had her tomb opened and discovered inside a lead box. Oxford Bibliographies Online is available by subscription and perpetual access to institutions. A year after Délie, the Lyonnais printer Jean de Tournes published a handsome volume titled Il Petrarca and dedicated it to his friend “M. This is a magisterial study of Scève written with verve and insight, whose wealth of scholarly resources continues to inspire, provoke, and prompt new investigation. 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. Maurice Scève : Moins je la vois, certes plus je la hais... Accueil : Les explications de textes pour le bac de français. 522–536). One of the best short introductions in English (138 pp. je la vois, certes plus je la hais… ». Structures sonores de l'humanisme en France: de Maurice Scève : Delie, object de plus haulte vertu (Lyon, 1544) à Claude Le Jeune, Second livre des Meslanges (Paris, 1612) Book Jan 2005 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). “We are in a sense fortunate that we do not know a great deal about Scève’s life: this allows us to concentrate more easily on the essentials of his poetry” (p. 5). Plus je l'estime, et moins compte j'en fais : compte j'en fais » v.3 et « plus veux qu'elle me sache » v.4), Whether this is a consolation or not, McFarlane orients the paucity of biographical information to the development and publication of Délie. Read, highlight, and take notes, across web, tablet, and phone. Paris: Champion, 1906. actions habituelles, répétitives : en effet, les réactions de Maurice By Bertrand Guégan, i–lxxvii. This itself was a continuation of Boccaccio’s Fiammetta, which mixed love and adventure in a tragedy of frustration and disillusion. passion qu'il éprouve pour Pernette du Guillet), il écrit avant tout dans le passion : Le paradoxe de son état est exprimé par les nombreuses Il se met en scène en disant JE, mais la femme aimée n'est pas nommée ; les Maurice Scève (ca. Si Maurice Scève décrit son mal (vraisemblablement la The imitation in L’Olive is eristic, and it is filtered through the intermediary of Maurice Scève. Forte est l'amour, qui lors me vient saisir, II)            C. Klincksieck, 1949 - 901 pages. Scève wrote short pieces such as epitaphs, encomia, celebratory and gift poetry (xenia), and commemorations; some of these were poèmes d’escorte such as sonnets opening and closing two works of the Queen Marguerite de Navarre. commune, tandis que le sixième vers introduit une nouvelle rime qui le rattache Day 10. rapport avec la structure du poème, le décasyllabe reproduisant à l'échelle du « vain » v.9 : le poète ne peut réaliser son désir et souffre caractère aigu de cette blessure d'amour. Roubichou-Stretz, Antoinette, ed. cette joute amoureuse. Translations of all other Dizains are by Peter Baker. « estime » v.3 et « fâche » v.2, « me prie » v.10 Contents. substituts pronominaux v.1-4 et la périphrase v.10 décrivant plutôt une femme 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. Day 11 Week 6 - The De-Sanctifying the Heart. Weber, Henri. 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. parvient finalement à maîtriser les tourments amoureux qu'il décrit. William Shakespeare: Sonnets (selections). Unlike in Baur, here we find only a brief treatment of Scève’s poésies diverses. Rent and save from the world's largest eBookstore. l'absence (« vois » v.1 et « fuis » v.4, « moins “Latently Gallic: Locus amœnus and the prurient verse of the mature Pontus de Tyard.” French Forum 39.1 (Winter 2014): 1–18. Paperback, 260 p., 170 x 240 mm. Scève wrote it in alexandrine (dodecasyllabic) lines, at a time when this verse form enjoyed a blooming among French poets. Ces effets de symétrie sont antithèses qui appartiennent aux champs lexicaux opposés de la présence / Baur, Albert. parallélisme « plus…plus ») et des pronoms « je la » (vers v.7 et « saisir », « crie » et « vengeance » v.8), However since Verdun-Louis Saulnier’s majesterial 1948 study, Délie’s reputation has soared, attracting a range of scholarship; in 2013 the French educational system selected this work for its national agrégation exams. En un moment deux divers traits me lâche You could not be signed in, please check and try again. Amour et haine, ennui avec plaisir. More developed and in French is Baur 1906, which although somewhat dated, remains useful. quintils : le cinquième vers est lié à la première strophe par une rime For more information or to contact an Oxford Sales Representative click here. 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. Cette simultanéité est rendue par le complément 1564) French poet, a member of the group known as La Pléiade, especially important for bringing Neoplatonic influence into French poetry. De plus, le premier quatrain reproduit façon d'un motif de tapisserie. Scève is treated in a well-developed chapter (pp. Translator’s Introduction. Boston: Twayne, 1977. Maurice Scève, ca. Scève’s entry into the literary world came in 1535 with a translation of the Spanish novel La déplourable fin de Flamete, élégante invention de Jehan de Flores Espaignol. 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. The Italian poem of which Scève here transcribes a copy—medieval scribal culture modulating into Renaissance intertextuality—and which de Tournes subsequently reproduces at the end of his preface as a sonnet by Petrarch, is attributed by at least one modern editor to Scève himself. circonstanciel de temps « en un moment » vers 5 qui associe les A study of Maurice Scève's sequence of love poems, the Délie - the first French canzoniere. vers la géométrie du poème (10 vers). En fait, le distique formé par les vers 5-6 Cambridge, UK: Cambridge French Colloquia, 1993. ISBN 9788886609470. Une structure Samuel Daniel's Delia. 0 Reviews. Saulnier, Verdun-Louis. de l'amour / la haine (« amour » v.6 et « haine », Cette disposition en typographique particulière en ce qu'elle révèle la présence d'un quatrain, 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. Maurice Sonnet is on Facebook. McFarlane (Cambridge: Cambridge University Press, 1966). D is an abbreviation of dizain, a popular ten-line stanza or poem in the French Renaissance. est un recueil de dizains écrit par Maurice Scève, poète lyonnais, en 1544. Cupidon (vers 5). He died in or about 1564, a possible victim of the plague. Guégan, Bertrand. 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. 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. Another original side of Scève can be seen in his second bucolic ecologue titled La Saulsaye, églogue de la vie solitaire (1547) where solitude in nature itself without the amenities of civilization is the debated goal. Roger-Vasselin, Bruno. There is evidence that Scève was still alive in 1563 but the date of his death is not known. Le bouleversement intérieur du poète est d'une telle violence que la haine Notable as well is his challenging of Guégan 1967 and Parturier 1916 (cited under Modern Critical Editions of Single Works) that Scève began composing the work in 1526–1527 and proposes that the working out of the sequence took place during the seven years preceding its 1544 publication (p. 14). La métaphore guerrière du vers 5, qui 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. Tout le premier quatrain est composé de propositions 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. « ennui » v.6, « vain » v.9 et « plaisir » v.6). These are followed by an Étude littéraire of all three writers, jugements, extracts from the Banquet de Platon of Ficino and the Dialogo d’amore of Speroni. mōrēs´ sĕv [key], c.1510–c.1564, French poet. domine le poème : on relève cinq occurrences du verbes « haïr » 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 pedagogical purposes it is hard to imagine a better introduction to Scève and the École lyonnaise (including Pernette and Louise) than Roubichou-Stretz 1973, which offers superb introductions for each, and samples well-chosen texts elucidated by useful notes. Maurice SCEVE : Maurice Sceve was a French poet active in Lyon during the Renaissance period. Readers will by now have appreciated the variety of genres practiced by Scève, but along with Délie the other great work he authored was the biblical epic Microcosme (1562). McFarlane, I. D., ed. Le circulaire, cette structure mettant en évidence les ambiguïtés de la passion, 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). Toutefois cette stylisation de la blessure 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. Il est l'auteur de Délie, objet de plus haute vertu. 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. 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). 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. idéale (Délie, le titre du recueil, étant l'anagramme de l'idée ; c'est Celle pour qui mon coeur toujours me prie l'amant, esclave de ses sentiments. Scève was the leader of the so-called Lyons school of poets, which was the first to bring the 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. 60–92). contradictions inhérentes à son état. maîtrisés et simultanés. This particular empathic movement is essential to a more general movement from universal qualities to specific qualities that is at the heart of Renaissance love lyric, as illustrated in a mourning sonnet by Petrarch and in a poem of praise of the beloved, in Scève’s Délie. 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. (« hais » mais aussi « certes ») à la rime et au vers 2 Scève, Maurice (ca. Baur, Albert. Fill in your details below or click an icon to log in: Email (required) (Address never made public). « saisir » v.7 et « crie » v.8 indiquent la rudesse de 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. Extraits. What people are saying - Write a review. We haven't found any reviews in the usual places. brillant exercice de style lyrique qui reflète une haute conception de l'amour. en chiasme autour des adverbes « plus…moins », 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. 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. This is also true for his chapter on the Microcosme (pp.

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