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University Microfilms International 300 North Zeeb Road Ann Arbor INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms International 300 North Zeeb Road Ann Arbor. Michigan 48106 USA St. John’s Road, Tyler’s Green High Wycombe. Bucks, England HP10 8HR 77 -2 3 4 0 ARANGO, Lauren Hibshman, 1946- FROM PHAETON TO PHEBUS: THE DEVELOPMENT OF GEORGES DE SCUDERY'S LYRICISM. The Ohio State University, Ph.D., 1976 Literature, Romance Xerox University MicrofilmsAnn , Arbor, Michigan 48106 © Copyright by Lauren Hibshnan Arango • 1976 > PLEASE NOTE: Page 139 is lacking in number only. No text is missing. Filmed as received. UNIVERSITY MICROFILMS. FROM PHAETON TO PHEBUSt THE DEVELOPMENT OF GEORGES DE SCUDfSRY'S LYRICISM DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University fiy Lauren Hihshman Arango, B.A., M.A. * * * * * The Ohio State University 1976 Reading Committee: Approved By . Charles G.S. Williams . Margarita Levisi . Eleanor Bulatkin Adviser Department of Romance Languages ACKNOWLEDGEMENTS I would like to acknowledge Dr. Hugh M. Davidson, in whose stimulating course on French Baroque Poetry I first became acquainted with the work of Georges de Scud^ry; and most of all, I would like to acknowledge my friend and adviser Dr. Charles G.S, Williams, whose course in French Seventeenth Century Literature motivated me to pursue further work in that area, and who unselfishly gave uncountable hours of his time helping, encouraging, and inspiring me in the completion of this dissertation. i i VITA August 16, 1 9 ^ ............................... Bom - Rockville Centre, New York 1968 ...... B.A., Ohio Wesleyan University, Delaware, Ohio 1969 .................................................... M.A., The Ohio State University, Columbus, Ohio 1969-present............................. Instructor, Department of Romance Languages, Ohio Wesleyan University, Delaware, Ohio FIELDS OF STUDY Major Field: French Literature Seventeenth Century. Dr. Charles G.S. Williams, Dr. Hugh M. Davidson Eighteenth Century. Dr. Hugh M. Davidson Sixteenth Century. Dr. Robert Cottrell Nineteenth Century. Dr. Charles Carlut Twentieth Century. Dr. Pierre Astier Medieval and Linguistics. Dr. Hans Keller, Dr. Eleanor Bui at kin Minor Field: Spanish Literature Drama of the Golden Age. Novel of the Golden Age. Dr. Margarita Levisi, Dr. J. Blecua The M ystics. Dr. A. B arranechea i i i TABLE OF CONTENTS p g g g ACKNOWLEDGMENTS.............................................................................. i i VITA ........................................................................................................ i l l INTRODUCTION Georges de Scud 6ry: Soldier and Poet .......................... i Georges de Scud 6ry and Literary History .................. 9 Chapter I . THE CABINET The Problem of th e Baroques Terminology and Chronology ............ J2 The Development of a Baroque Spirit in F ran ce ............................................................. 3^ The Baroque in Art ................................................ 39 P a in tin g and P o e t r y ............................................ 45 The Baroque in Literature .......................... 51 The Cabinets Marino ......................... 57 Five Poems from the C abinet .......................... 62 I I . "LA DESCRIPTION DE LA FAMEUSE FONTAINE DE VAUCLUSE"s TWELVE POEMS OF TRANS­ ITION .......................................................................... 94 I I I . THE POESIES DIVERSES The Problem of "Pr 6c i o s i t 6" ...................... 134 In flu en c es on "Pr 6c i o s i t 6" : I t s Historical Aspects ....................................... 137 The S alons. 141 The "Pr6cieux" Influence on the French Language .................................. 145 "P r6cieux" R hetoric ............................................ 152 "Pr6cieux" Themes ..... .......................... 160 Foreign In flu e n c e s on "Pr 6c i o s i t 6" . , 169 Georges de Scud^ry and "Preciosity's Six Poems from the Polsies diverses. 179 iv TABLE OF CONTENTS (C on't) Page CONCLUSION.......................................................................................... 216 BIBLIOGRAPHY...................................................................................... 222 v INTRODUCTION Et poete et guerrier, II aura du laurier. GEORGES DE SCUDERY: SOLDIER AND POET Georges de Scudery was bom at Le Havre in 1601. This date is confirmed by the preface to his Poesies diverse s. published in I6k9, in which he states*. Ce n'est pas que j ' aye encore besoin de beaucoup de poudre pour cacher la blancheur des miens Ccheveuxl , ni que ma vieillesse soit decrepite: mais enfin j'ay quarante huit ans, & ma premiere Maistresse n'est plus belle. His family originated in Sicily; old Latin texts give his family name as Scutifer, and in 16th century records it is listed as Scu- dier and Escuyer. The family emigrated to France, and Georges* grand­ father, Elzlar de Scudery, had command of a company of soldiers and distinguished himself in the religious wars. After the wars, Elzdar de Scudlry was named Mayor of the city of Apt, in Provence. Georges' father left Apt in the service of Andrl de Brancas, Governor of Le Havre during the reign of Henri III. He received the charge of "Lieutenant du Roi" in Le Havre, married Mile de Brilly from Normandy, and had two children: Georges, bom in 1601, and his sister Madeleine, born in 1607. On October 23, 1610, Georges' father was imprisoned for pillaging a wrecked Dutch ship. He was released, ruined, in 1613, and died shortly thereafter. Georges' mother died six months after her husband, and Georges and Madeleine were sent to live with a wealthy uncle in Rouen. Their uncle took a great interest in their education, making sure that both were educated properly. Georges' first poetic endeavors were brought about by his love for a young lady named Catherine de Rouy&re. Passionately smitten with her, he took his position under her balcony one night after she had gone to bed and sang the following verses, which he had composed for the occasions De l 1 autre bout de la France Ou le sort m'avoit detenu, Pour temoigner ma Constance, Ma Catin, me voici venu. Vous dormez et me voici de retour Avec autant d'amour Comme le premier jour. Unfortunately, the young woman was not particularly impressed by this ingenious declaration of love, for she later left for Aix, where she married a M. de Pigenat. Georges, however, had had his initiation into the world of the poet. Not much information is known about Georges during his military career. He made four trips to Rome, living there for some time, probably before entering the army. He learned the Italian language and observed Italian customs and habits. It is generally believed that he served in the army between the years 1623 and I63 O. Georges took part in the Piemont campaigns, serving under Louis XIII. In I 63 O, however, for reasons which were probably financial, he left the army and began to pursue a career of letters. Some critics feel that he became bored with the army, and decided to look for something which would offer a diversion. In the preface to his first play, Ligdamon. however, it seems that in spite of seeking the diversions of letters, Georges de Scudlry still considers himself a soldier first and a poet second: La poesie me tient lieu de divertissement agreable, & non pas d'occupation serieuse... Je s 9ais mieux ranger les Soldats, que les paroles, & mieux quarrer les Bataillons, que les Periodes, & c .... Between I 63 O and 1640 Georges de Scud 6ry lived in Paris, culti­ vating the career of a man of letters. He became a good friend of the poet Thlophile de Viau, defending him and supporting him when others hesitated to admit that they were even acquainted with him. He published an edition of Th 6ophile's poetry in I 63 O, and c a lle d him "un dieu." In speaking of Scud 6ry's admiration for Th 6ophile, Renee Winegarten states that he "considered Th 6ophile superior to all poets _ _ living and dead, and...made Ronsard and Malherbe pay homage to Qiimj." Scudiry's first play, Ligdamon. published also in I 63 O, was a great success^ and has since been judged as "ni meilleure, ni pire que toutes celles que l'on faisait dans ce temps-lk."^ Between I 63 O and 1640, Scud 6ry had fifteen plays presented.
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