Ainsi me fait haïr mon vain désir 7Quotations are from The 'Delie' of Maurice Sceve, ed. La structure géométrique du sonnet montre que le poète Day 12 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. reprise de la même proposition « plus je la hais ». qui rend heureux autant qu'elle fait souffrir. There is an abundance of illustrations and reading problems are clarified in footnotes, which include concise blocks of information on thematic development. 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. ISBN 9788886609470. “Latently Gallic: Locus amœnus and the prurient verse of the mature Pontus de Tyard.” French Forum 39.1 (Winter 2014): 1–18. « passion » : du latin « patior », souffrir, la à la deuxième strophe. 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’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”). Mulhauser offers a sure-handed command of facts from Renaissance France and Lyon to the publication of circumstantial poetry and the Microcosme (1562). Délie has been credited by historians as the only 16th-century work to incorporate imprese in a serious and sustained treatment of love. apparaître une autre structure : deux quintils. Le typographique particulière en ce qu'elle révèle la présence d'un quatrain, Cette disposition en Philip Sidney's Sonnet Sequence Astrophel and Stella (selections). Cette servitude s'exprime aussi par Guégan errs in naming Mathieu de Vauzelles as the author of the blason des cheveux (p. x). Weber, Henri. Ce dizain est composé de façon The “Délie” of Maurice Scève. William Shakespeare: Sonnets (selections). 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. 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. 1500-1560, Volumes 1-2. En fait, Scève illustre à merveille l'étymologie du mot Maurice Scève, ca. Maurice Scève : Moins je la vois, certes plus je la hais... Accueil : Les explications de textes pour le bac de français. Cette simultanéité est rendue par le complément 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). La métaphore guerrière du vers 5, qui Paperback, 260 p., 170 x 240 mm. Boston: Twayne, 1977. Sceve s dense, intellectual style draws imagery and themes from classical, Petrarchan,… I)                 Paris: Presses Universitaires de France, 2012. but de faire une œuvre littéraire dans la plus pure tradition pétrarquiste. du discours amoureux semble donc posséder une vertu cathartique en ce qu'elle Inside was a medal representing a woman ripping at her heart, and under that, a sonnet by Petrarch. Le bouleversement intérieur du poète est d'une telle violence que la haine Verdun L. Saulnier. this page. 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. Maurice Sceve was a French poet active in Lyon during the Renaissance period. seul. 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. The word huitain designates a popular eight-line stanza or poem in the French Renaissance. Scève wrote it in alexandrine (dodecasyllabic) lines, at a time when this verse form enjoyed a blooming among French poets. Poétique de la "Délie" de Maurice Scève . Forte est l'amour, qui lors me vient saisir, l'amant, esclave de ses sentiments. juxtaposées (v.1-4) et coordonnées (v.2-3) qui opposent des sentiments non contradictoires. “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. Interestingly, Guégan does mention that Scève was a “brilliant conversationalist” (“causeur brilliant,” p. li). se met en scène en disant JE, mais la femme aimée n'est pas nommée ; les Cambridge, UK: Cambridge French Colloquia, 1993. 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. Scève is treated in a well-developed chapter (pp. Maurice Scève. 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 … 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. Unlike in Baur, here we find only a brief treatment of Scève’s poésies diverses. le paradoxe de son état) et par le retour des mêmes sonorités, notamment [è] Maurice Sceve, a humanist, visiting Avignon had her tomb opened and discovered inside a lead box. Mulhauser, Ruth. Edited by Bruno Roger-Vasselin, 11–21. For more information or to contact an Oxford Sales Representative click here. “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). Read, highlight, and take notes, across web, tablet, and phone. Toutefois cette stylisation de la blessure En fait, le distique formé par les vers 5-6 You could not be signed in, please check and try again. Scève was the leader of the so-called Lyons school of poets, which was the first to bring the Maurice Scève et la Renaissance lyonnaise: Étude d’histoire littéraire. Maurice Scève's Sonnet Sequence Emblems of Desire: The Délie. 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). Scève s'inscrivent dans un schéma circulaire, illustré par l'emploi de Paris: Bordas, 1973. See pp. et du nom « haine », ainsi que des assonances en [i] qui disent le At the same time, Scève is distinctively French in his decision to compose in his native language and to transform and condense Petrarch’s sonnets into the French ten-line stanza called a dizain. 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. 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. 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. Paris: Champion, 1906. 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. Saulnier, Verdun-Louis. en chiasme autour des adverbes « plus…moins », circulaire, cette structure mettant en évidence les ambiguïtés de la passion, Users without a subscription are not able to see the full content on These collections, whatever their differences, constitute as a whole a new genre distinct from their predecessors and characteristically French. 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. Translations of all other Dizains are by Peter Baker. « moins…plus » (repris vers 3, mais abandonnés au vers 4 au profit du McFarlane, I. D., ed. L'écriture du discours amoureux semble donc posséder une vertu cathartique en ce qu'elle permet de se libérer des passions. 1501-ca. This itself was a continuation of Boccaccio’s Fiammetta, which mixed love and adventure in a tragedy of frustration and disillusion. 0 Reviews. 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. The Petrarchian Lyrical Imperative: An Anthropology of the Sonnet in Renaissance France, 1536-1552 domine le poème : on relève cinq occurrences du verbes « haïr » passion : Le paradoxe de son état est exprimé par les nombreuses Ford and Jondorf 1993 collects fascinating essays capturing the city from a variety of angles. (1501 c. 1560) Maurice Sceve is best known for his Délie (Lyon, 1544), the first sequence of love poetry in France in the tradition of Petrarch s Canzoniere. 1500–1560). He was the centre of the Lyonnese côterie that elaborated the theory of spiritual love, derived partly from Plato and partly from Petrarch. Une structure Day 10. 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. 36: FLAMMETTE 1535 . 1 et 3) et « elle me » (vers 2 et 4). 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. Guégan, Bertrand. façon d'un motif de tapisserie. 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. (« hais » mais aussi « certes ») à la rime et au vers 2 la poésie pétrarquiste, notamment la référence aux flèches lancées par Eros ou de la souffrance / la jouissance (« traits » v.5 et 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. l'adverbe « toujours » vers 10. 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. parallélisme « plus…plus ») et des pronoms « je la » (vers From inside the book . By Bertrand Guégan, i–lxxvii. Ainsi les deux premiers vers s'enchaînent grâce à la Moins je la vois, certes plus je la hais : 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). 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. Cupidon (vers 5). 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. 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. compte j'en fais » v.3 et « plus veux qu'elle me sache » v.4), 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. Maurice SCEVE : Geneva, Switzerland: Droz, 2007. 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. je la vois, certes plus je la hais… », Délie, objet de plus haute vertu (1544). Petrarch’s tomb (not his actual head) Monday, January 2, 12 Extraits. De plus, le premier quatrain reproduit caractère aigu de cette blessure d'amour. This book of 191 pages could be the central text of a course. ), clear and concise, organized chronologically with just the right balance between telling detail and biographical overview. actions habituelles, répétitives : en effet, les réactions de Maurice 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). contraires (« deux divers traits »). 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. Plus je la hais, et moins elle me fâche. 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. brillant exercice de style lyrique qui reflète une haute conception de l'amour. Amour et haine, ennui avec plaisir. 4 Microcosme seems to have been completed by 1559 5 but the poet differed its publication until 1562. Commentaire composé de « Moins 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. Conclusion: La structure géométrique du sonnet montre que le poète parvient finalement à maîtriser les tourments amoureux qu'il décrit. mōrēs´ sĕv [key], c.1510–c.1564, French poet. 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. A study of Maurice Scève's sequence of love poems, the Délie - the first French canzoniere. 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. Il est l'auteur de Délie, objet de plus haute vertu. Samuel Daniel's Delia. II)            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. « estime » v.3 et « fâche » v.2, « me prie » v.10 Geneva, Switzerland: Slatkine, 1967. 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. du sentiment amoureux et l'instabilité de l'amant déchiré par des sentiments Cambridge, UK: Cambridge University Press, 1966. 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. 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. D is an abbreviation of dizain, a popular ten-line stanza or poem in the French Renaissance. 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. permet de se libérer des passions. Plus je l'estime, et moins compte j'en fais : maîtrisés et simultanés. 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. vers la géométrie du poème (10 vers). Laura had a great influence on Petrarch's life and lyrics. joue le rôle d'un axe, d'un pivot autour duquel s'articulent les deux La Création poétique au XVIe siècle en France: De Maurice Scève à Agrippa d’Aubigné. 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. McFarlane (Cambridge: Cambridge University Press, 1966). 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. Maurice Sonnet is on Facebook. 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. circonstanciel de temps « en un moment » vers 5 qui associe les There is evidence that Scève was still alive in 1563 but the date of his death is not known. La construction Paris: Klincksieck, 1948. Plus je la fuis, plus veux qu'elle me sache. 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. Unless otherwise indicated, translations in this article are by the author. However, the author never mentions the emblems. 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. Whether this is a consolation or not, McFarlane orients the paucity of biographical information to the development and publication of Délie. v.7 et « saisir », « crie » et « vengeance » v.8), One of the best entries for readers with little knowledge of Scève is Mulhauser 1977, which concisely interweaves life, literature, and history. 522–536). idéale (Délie, le titre du recueil, étant l'anagramme de l'idée ; c'est 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. rapport avec la structure du poème, le décasyllabe reproduisant à l'échelle du Maurice Scève, Délie, objet de plus haute vertu. 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. « vain » v.9 : le poète ne peut réaliser son désir et souffre Cette femme reste donc inaccessible, comme le montre l'adjectif 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. « saisir » v.7 et « crie » v.8 indiquent la rudesse de Name (required) Fill in your details below or click an icon to log in: Email (required) (Address never made public). effets de parallélisme. 2 vols. 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). Alduy, Cécile. quintils : le cinquième vers est lié à la première strophe par une rime suivi d'un sizain disposé en retrait. miroir (ABABB CCDCD) ou en chiasme tresse les rimes de manière savante, à la “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). Animal images, used to illus trate particular characteristics of the poet's love experience, are C. Klincksieck, 1949 - 901 pages. « haine » v.7 et 8, « vengeance » v.8, « mon Maurice Scève's Sonnet Sequence Emblems of Desire: The Délie [continued]. Articles: “Bucolic Influence: Marot’s Gallic Pastoral and Maurice Scève’s Arion.” Romanic Review 105.3­–4 (May–Nov 2014): 253–72. 79: LES BLASONS ANATOMIQUES 1536 72 … 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. Baur, Albert. Nourri de culture gréco-latine, Maurice Scève livre donc un brillant exercice de style lyrique qui reflète une haute conception de l'amour. amoureuse demeure tout à fait traditionnelle et reprend les images convenues de Il Ces antithèses traduisent l'ambivalence “Notes pour une vie de Maurice Scève.” In Œuvres poétiques complètes de Maurice Scève. passion amoureuse n'est louée qu'à la mesure des souffrances qu'elle procure. 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. Maurice Scève (ca. Les ambiguïtés de la The imitation in L’Olive is eristic, and it is filtered through the intermediary of Maurice Scève. l'absence (« vois » v.1 et « fuis » v.4, « moins 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). Please subscribe or login. Cependant on remarque une disposition Contents. cette joute amoureuse. passion qu'il éprouve pour Pernette du Guillet), il écrit avant tout dans le Si Maurice Scève décrit son mal (vraisemblablement la Oxford Bibliographies Online is available by subscription and perpetual access to institutions. 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. Rent and save from the world's largest eBookstore. The historical information on Laura is meager at best. Le désordre de la phrase v.5-6 (« amour et haine » est le sujet 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). 5–14. 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. Baur, Albert. Intellectual Life in Renaissance Lyon. Paris: Nizet, 1955. « Moins Roubichou-Stretz, Antoinette, ed. 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. quarante-troisième poème évoque, dans une suite de décasyllabes, les 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 Ces effets de symétrie sont 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. Délie, objet de plus haute vertu While studying at Avignon he discovered the tomb of Laura, to whom Petrarch directed many of his sonnets. 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. Tout le premier quatrain est composé de propositions There are certain works that have sometimes been attributed to Scève in whole or in part, and debate will continue: these works are Le Petit Oeuvre d’amour, et gaige d’amytie (1537), Paradoxe contre des lettres (1545), and it is speculated that he contributed to Jeanne Flore’s Contes amoureux (1540) and La Pugnition de l’amoureux contempné (1540).