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”). L'écriture Ces effets de symétrie sont « ennui » v.6, « vain » v.9 et « plaisir » v.6). Nourri de culture gréco-latine, Maurice Scève livre donc un Ford and Jondorf 1993 collects fascinating essays capturing the city from a variety of angles. From inside the book . The imitation in L’Olive is eristic, and it is filtered through the intermediary of Maurice Scève. Unlike in Baur, here we find only a brief treatment of Scève’s poésies diverses. 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. While studying at Avignon he discovered the tomb of Laura, to whom Petrarch directed many of his sonnets. et du nom « haine », ainsi que des assonances en [i] qui disent le McFarlane, I. D., ed. je la vois, certes plus je la hais… ». permet de se libérer des passions. Il Scève wrote it in alexandrine (dodecasyllabic) lines, at a time when this verse form enjoyed a blooming among French poets. humain). Maurice Scève (ca. However, the author never mentions the emblems. 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. Day 12 Poétique de la "Délie" de Maurice Scève . 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. mōrēs´ sĕv [key], c.1510–c.1564, French poet. 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. 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. Il est l'auteur de Délie, objet de plus haute vertu. 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. One of the best entries for readers with little knowledge of Scève is Mulhauser 1977, which concisely interweaves life, literature, and history. Paris: Presses Universitaires de France, 2012. 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. Conclusion: La structure géométrique du sonnet montre que le poète parvient finalement à maîtriser les tourments amoureux qu'il décrit. 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. l'adverbe « toujours » vers 10. In Michaelmas Term these preoccupations are surveyed with reference to the Renaissance period (c. 1520-1610) as a whole; authors studied will include Clément Marot, François Rabelais, Maurice Scève, Marguerite de Navarre, Pernette du Guillet, Joachim Du Bellay, Jean de Léry, Agrippa d’Aubigné, and François de Rosset. Roubichou-Stretz, Antoinette, ed. quintils : le cinquième vers est lié à la première strophe par une rime Maurice Scève, né vers 1501 à Lyon et mort vers 1564, est un poète français. 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. Amour et haine, ennui avec plaisir. Animal images, used to illus trate particular characteristics of the poet's love experience, are la poésie pétrarquiste, notamment la référence aux flèches lancées par Eros ou Cupidon (vers 5). Plus je la fuis, plus veux qu'elle me sache. Toutefois cette stylisation de la blessure By Bertrand Guégan, i–lxxvii. je la vois, certes plus je la hais… », Délie, objet de plus haute vertu (1544). Saulnier, Verdun-Louis. Si Maurice Scève décrit son mal (vraisemblablement la Unless otherwise indicated, translations in this article are by the author. vers la géométrie du poème (10 vers). 1500-1560, Volumes 1-2. 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. ISBN 9788886609470. Maurice Scève wrote this long poem during the years 1555-1560. 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). 36: FLAMMETTE 1535 . « vain » v.9 : le poète ne peut réaliser son désir et souffre 1564) French poet, a member of the group known as La Pléiade, especially important for bringing Neoplatonic influence into French poetry. Cette servitude s'exprime aussi par est un recueil de dizains écrit par Maurice Scève, poète lyonnais, en 1544. La construction effets de parallélisme. substituts pronominaux v.1-4 et la périphrase v.10 décrivant plutôt une femme Read, highlight, and take notes, across web, tablet, and phone. Cette disposition en Geneva, Switzerland: Droz, 2007. 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. 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). Nourri de culture gréco-latine, Maurice Scève livre donc un brillant exercice de style lyrique qui reflète une haute conception de l'amour. Users without a subscription are not able to see the full content on The modest title belies the wealth of information on the literary and cultural background of Scève; its value lies in integrating relatively recent scholarship into the presentation. Ces antithèses traduisent l'ambivalence William Shakespeare: Sonnets (selections). Le désordre de la phrase v.5-6 (« amour et haine » est le sujet 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. Edited by Bruno Roger-Vasselin, 11–21. 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 Paris: Bordas, 1973. Fill in your details below or click an icon to log in: Email (required) (Address never made public). 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. 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. The historical information on Laura is meager at best. Geneva, Switzerland: Slatkine, 1967. (rime interne) et [a]. Maurice Sceve, a humanist, visiting Avignon had her tomb opened and discovered inside a lead box. The word huitain designates a popular eight-line stanza or poem in the French Renaissance. de l'amour / la haine (« amour » v.6 et « haine », Plus je l'estime, et moins compte j'en fais : Maurice Sceve was a French poet active in Lyon during the Renaissance period. circulaire, cette structure mettant en évidence les ambiguïtés de la passion, 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. 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). One of the first modern overviews of Scève’s life and works, this is divided chronologically into nine chapters addressing his youth and first literary successes, as well as his relations with the Lyonnais humanists and Marguerite de Navarre. aussi le surnom de Diane, déesse romaine farouche et réfractaire à tout amour “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. Scève s'inscrivent dans un schéma circulaire, illustré par l'emploi de Boston: Twayne, 1977. 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. 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. Commentaire composé de « Moins rapport avec la structure du poème, le décasyllabe reproduisant à l'échelle du Paris: Klincksieck, 1948. 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. Scève is treated in a well-developed chapter (pp. 4 Microcosme seems to have been completed by 1559 5 but the poet differed its publication until 1562. Consisting of 3,003 verses divided into three books, the poem is a sweeping view of human history with the humanist aim of portraying Adam’s temptation and fall as the incentives to advance unlimited human progress. juxtaposées (v.1-4) et coordonnées (v.2-3) qui opposent des sentiments non Please subscribe or login. Baur, Albert. 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. ), clear and concise, organized chronologically with just the right balance between telling detail and biographical overview. Cambridge, UK: Cambridge University Press, 1966. 0 Reviews. Le bouleversement intérieur du poète est d'une telle violence que la haine 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. à la deuxième strophe. 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. 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 … contradictions inhérentes à son état. D is an abbreviation of dizain, a popular ten-line stanza or poem in the French Renaissance. Scève, Maurice (ca. 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. Maurice Sonnet is on Facebook. This itself was a continuation of Boccaccio’s Fiammetta, which mixed love and adventure in a tragedy of frustration and disillusion. domine le poème : on relève cinq occurrences du verbes « haïr » “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). 7Quotations are from The 'Delie' of Maurice Sceve, ed. Mulhauser, Ruth. Day 11 Week 6 - The De-Sanctifying the Heart. Laura had a great influence on Petrarch's life and lyrics. brillant exercice de style lyrique qui reflète une haute conception de l'amour. Sceve s dense, intellectual style draws imagery and themes from classical, Petrarchan,… 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. 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. Roger-Vasselin, Bruno. circulaire : Le présent du discours décrit des Maurice Scève. seul. Le du discours amoureux semble donc posséder une vertu cathartique en ce qu'elle passion amoureuse n'est louée qu'à la mesure des souffrances qu'elle procure. le paradoxe de son état) et par le retour des mêmes sonorités, notamment [è]