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Latently Gallic: Locus amœnus and the Prurient Verse of the Mature Pontus de Tyard

Latently Gallic: Locus amœnus and the Prurient Verse of the Mature Pontus de Tyard Latently Gallic Locus amœnus and the Prurient Verse of the Mature Pontus de Tyard Robert J. Hudson Pontus de Tyard (c. 1521– 1605), who consistently fi gures among the core of Pierre de Ronsard’s oft - changing list of Pléiade poets, is nonetheless one of the less frequently studied. Th is comparative lack of critical attention has led to reductive and distorted classifi cations drawn mainly from Tyard’s ear- liest publications and biographical details. Given the proximity of the young Mâconnais lyricist to the école lyonnaise of Maurice Scève and his friendship with publisher Jean de Tournes (whose Lyon- based press produced both Il Petrarca in 1545 and Tyard’s Erreurs amoureuses in 1549), Tyard is oft en seen as a strict, orthodox adherent of Petrarchan giovenile errore and innamora- mento. Bearing resonant echoes of Petrarch and Scève, the bulk of the fi rst two editions of Tyard’s Erreurs amoureuses (1549, 1551) follow a Neoplatonic thematics, favor the sonnet and carry a certain lyrical gravitas. As his most celebrated and commented work, the critical emphasis on the Petrarchist dimension of the Erreurs has had the eff ect of distorting both our under- standing of Tyard and his poetic infl uences. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png French Forum University of Nebraska Press

Latently Gallic: Locus amœnus and the Prurient Verse of the Mature Pontus de Tyard

French Forum , Volume 39 (1) – Jul 30, 2014

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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 French Forum, Inc.
ISSN
1534-1836

Abstract

Latently Gallic Locus amœnus and the Prurient Verse of the Mature Pontus de Tyard Robert J. Hudson Pontus de Tyard (c. 1521– 1605), who consistently fi gures among the core of Pierre de Ronsard’s oft - changing list of Pléiade poets, is nonetheless one of the less frequently studied. Th is comparative lack of critical attention has led to reductive and distorted classifi cations drawn mainly from Tyard’s ear- liest publications and biographical details. Given the proximity of the young Mâconnais lyricist to the école lyonnaise of Maurice Scève and his friendship with publisher Jean de Tournes (whose Lyon- based press produced both Il Petrarca in 1545 and Tyard’s Erreurs amoureuses in 1549), Tyard is oft en seen as a strict, orthodox adherent of Petrarchan giovenile errore and innamora- mento. Bearing resonant echoes of Petrarch and Scève, the bulk of the fi rst two editions of Tyard’s Erreurs amoureuses (1549, 1551) follow a Neoplatonic thematics, favor the sonnet and carry a certain lyrical gravitas. As his most celebrated and commented work, the critical emphasis on the Petrarchist dimension of the Erreurs has had the eff ect of distorting both our under- standing of Tyard and his poetic infl uences.

Journal

French ForumUniversity of Nebraska Press

Published: Jul 30, 2014

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