Remy Belleau Et L’Art De Guérir

Total Page:16

File Type:pdf, Size:1020Kb

Remy Belleau Et L’Art De Guérir View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Birkbeck Institutional Research Online Jean Braybrook Remy Belleau et l’art de guérir Brought to you by | Learning and Information Service University of Central Lancashire Authenticated | 193.61.53.204 Download Date | 11/8/13 10:51 AM Versita Discipline: Language, Literature Managing Editor: Anna Borowska Language Editors: Yvonne Bellenger Agnès Calatayud Brought to you by | Learning and Information Service University of Central Lancashire Authenticated | 193.61.53.204 Download Date | 11/8/13 10:51 AM Published by Versita, Versita Ltd, 78 York Street, London W1H 1DP, Great Britain. This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 license, which means that the text may be used for non-commercial purposes, provided credit is given to the author. Copyright © 2013 Jean Braybrook ISBN (paperback): 978-83-7656-018-2 ISBN (hardcover): 978-83-7656-019-9 ISBN (for electronic copy): 978-83-7656-020-5 Managing Editor: Anna Borowska Language Editors: Yvonne Bellenger Agnès Calatayud Cover illustration: © Jean Braybrook www.versita.com Brought to you by | Learning and Information Service University of Central Lancashire Authenticated | 193.61.53.204 Download Date | 11/8/13 10:51 AM Brought to you by | Learning and Information Service University of Central Lancashire Authenticated | 193.61.53.204 Download Date | 11/8/13 10:51 AM Pour Andrew, Christopher et Gail Brought to you by | Learning and Information Service University of Central Lancashire Authenticated | 193.61.53.204 Download Date | 11/8/13 10:51 AM Brought to you by | Learning and Information Service University of Central Lancashire Authenticated | 193.61.53.204 Download Date | 11/8/13 10:51 AM Contents Note..................................................................................................................... 11 Introduction ...................................................................................................... 13 L’admiration du poète pour les médecins .......................................................................13 Un poète compatissant .............................................................................................................14 Les effets des armes à feu .......................................................................................................16 L’amour et la guerre ....................................................................................................................17 Un testament parisien................................................................................................................18 L’écriture thérapeutique ...........................................................................................................19 Le corps souffrant de l’état .....................................................................................................20 Le rire curatif ..................................................................................................................................23 Chapitre 1 Le «baston de berger» et la colonne triomphale ............................. 27 1.1 Un moyen mnémotechnique ..........................................................................................29 1.2 Une colonne triomphale ...................................................................................................31 1.3 Un bâton thérapeutique ...................................................................................................32 1.4 Des remèdes de papier .....................................................................................................34 Chapitre 2 «Le Mal d’Amours» .......................................................................... 37 2.1 Les plaisirs de l’amour .......................................................................................................37 2.2 Chagrin d’amour, amour-maladie .................................................................................39 2.3 Irruption du je ........................................................................................................................48 2.4 À la recherche d’un remède ............................................................................................51 2.5 Ensorcellement ......................................................................................................................55 2.6 La poésie comme seul remède? ...................................................................................56 2.7 La houlette, outil satirique ..............................................................................................57 2.8 Les académies ........................................................................................................................59 Brought to you by | Learning and Information Service University of Central Lancashire Authenticated | 193.61.53.204 Download Date | 11/8/13 10:51 AM Chapitre 3 «Les Amours de David et de Bersabee» ........................................... 61 3.1 Quelques sources .................................................................................................................61 3.2 Job ................................................................................................................................................63 3.3 David et les Grands .............................................................................................................64 3.4 L’importance de la musique ............................................................................................66 3.5 La lyre .........................................................................................................................................67 3.6 L’eau trompeuse....................................................................................................................68 3.7 Urie ..............................................................................................................................................71 3.8 La moralité du texte ............................................................................................................72 3.9 La parabole et un parallèle avec Sir Philip Sidney ..............................................73 3.10 Une lueur d’espoir ............................................................................................................74 Chapitre 4 L’Humour: La Reconnue .................................................................... 77 4.1 Une pièce moderne .............................................................................................................78 4.2 La souffrance physique .....................................................................................................80 4.3 La chicanerie ...........................................................................................................................86 4.4 La famine ..................................................................................................................................87 4.5 Un malaise personnel et public ....................................................................................91 4.6 La reconnaissance ................................................................................................................92 4.7 Antoinette ................................................................................................................................93 4.8 La liberté de parole .............................................................................................................94 Chapitre 5 La Poésie macaronique: le Dictamen metrificum .............................. 97 5.1 Un titre ambigu ......................................................................................................................98 5.2 Des ingrédients épiques...................................................................................................99 5.3 Une arme protestante .....................................................................................................101 5.4 Un autre parallèle moderne et quelques sources du XVIe siècle .............101 5.5 Les vertus de la difficulté ..............................................................................................103 5.6 Le cadre du Dictamen .....................................................................................................103 5.7 Les dimensions sonores du texte .............................................................................104 5.8 L’énumération .....................................................................................................................106 5.9 Un monde à l’envers ........................................................................................................107 5.10 Le heurt des genres .......................................................................................................109 5.11 Une description à la fois physique et morale ..................................................110 5.12 L’invitation au voyage ..................................................................................................110 Brought to you by | Learning and Information Service University of Central Lancashire Authenticated | 193.61.53.204 Download Date | 11/8/13 10:51 AM Chapitre 6 Les Pierres précieuses ................................................................... 113 6.1 Une poésie de cour ..........................................................................................................113
Recommended publications
  • Arpenter La Vie Littéraire Surveying Literary Life
    n° 2 / 2018 Arpenter la vie littéraire Surveying Literary Life PRESSES UNIVERSITAIRES DE VINCENNES no 2 / 2018 De 7 à 280 joueurs From 7 to 280 Players Une base de données pour renouveler A Database to Reassess the Literary l’histoire littéraire de la « Pléiade » History of La Pléiade Florence Bonifay traduction│translation Michelle Arriss│Delaina Haslam│Séverine Sofio Même si la « Pléiade1 » hante encore les manuels du secondaire While the “Pléiade”1 still haunts school textbooks to refer to a group pour désigner un groupe de sept poètes du milieu du XVIe siècle, il est of seven mid sixteenth-century poets, it has long been understood entendu depuis bien longtemps qu’elle n’est qu’un mythe (Balmas as nothing more than a myth (Balmas 1965; Lebègue 1966): this 1965 ; Lebègue 1966) : cette vue de l’esprit de Ronsard, quoique creation of Ronsard, although elusive,2 captured the imagination of fugace2, frappa l’imagination d’une poignée de ses contemporains a handful of his contemporaries and was, above all, a convenient et fut, surtout, une étiquette commode pour les historiens de la label for literary historians during the centuries that followed. In 1 Nous mettons des guillemets lorsqu’il s’agit d’utiliser le mot pour désigner le 1 Quotation marks are being used for the word “Pléiade” when it refers to the mouvement littéraire que des historiens de la littérature et concepteurs de literary movement that historians of literature and school textbook writers manuels scolaires désignent avec cette étiquette. Nous utilisons les italiques have labelled this way, whereas italics are used when it comes to referring to lorsqu’il s’agit de renvoyer au mot Pléiade tel qu’il a été utilisé par quelques the word Pléiade as it was used by a few poets of the sixteenth century.
    [Show full text]
  • Jessie Hock WAGING LOVING WAR: LUCRETIUS and the POETRY
    Lucretius and the Poetry of Remy Belleau Jessie Hock WAGING LOVING WAR: LUCRETIUS AND THE POETRY OF REMY BELLEAU n 1558 Joachim du Bellay completed the frst translation of Lucretius into IFrench, twenty-two lines from the beginning of De rerum natura (henceforth DRN), for a collection of ancient sources to accompany Louis Le Roy’s translation of Plato’s Symposium. This translation is one of a set of texts that demonstrates the Pléiade group’s wide-ranging engagement with Lucretius, marking not only its frst explicit textual manifestation but also its central themes: poetry, desire, and politics.1 In this essay I look at the adoption of that tradition in the work of one of the lesser known but most innovative members of the group, Remy Belleau. The other Pléiade poets acknowledged Belleau as the most learned among them.2 He wrote across traditions and took special pleasure in new and uncommon genres, producing among other things a translation of the Anacreontic odes, a pastoral compilation, a commentary on Ronsard’s second book of Amours, sacred eclogues translated from the Song of Songs, poems about assorted small objects, and a collection of poems about precious stones.3 This essay focuses on the last of these texts, Les Amours et nouveaux eschanges des pierres precieuses (henceforth Pierres), to argue that Belleau was a careful reader of Lucretius whose poetry applies the Latin poet’s language of pleasure to questions of politics. 1. On Lucretius and the Pléiade in general, see La Renaissance de Lucrèce; Schmidt; Fraisse; Pantin; and Castor. On Lucretius in du Bellay, especially Regrets 9 and the Défense et illustration de la langue française, see Haley 128; and Vons.
    [Show full text]
  • Lucretian Poetics in the Renaissance by Jessie Hock A
    Bodies Atomic: Lucretian Poetics in the Renaissance By Jessie Hock A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Victoria Kahn, Co-Chair Professor Timothy Hampton, Co-Chair Professor Frank Bezner Professor Joanna Picciotto Spring 2015 Bodies Atomic: Lucretian Poetics in the Renaissance © 2015 by Jessie Hock Abstract Bodies Atomic: Lucretian Poetics in the Renaissance by Jessie Hock Doctor of Philosophy in Comparative Literature University of California, Berkeley Professor Victoria Kahn, Co-Chair Professor Timothy Hampton, Co-Chair Bodies Atomic: Lucretian Poetics in the Renaissance reveals a forgotten atomist genealogy at the heart of the lyric tradition. Today, Lucretius is well known as a source of materialist thinking in the Renaissance, but I argue that Renaissance poets read De rerum natura (DRN) as a meditation on the imagination, generating a line of atomist thought in and about verse. In Lucretius’s versification of the atom – an invisible body situated at the tender intersection of the imaginary and the corporeal – Renaissance readers discovered a poetics that theorized how the resources of verse could elucidate material reality. On the one hand, Lucretian poetics helped them articulate poetry’s purchase on material conditions, from patronage networks to politics. On the other, DRN asserted an intimate connection between poetry and natural philosophy, offering a vision of how poetry might constitute a natural philosophical method, even at a time when the rise of empirical scientific methodologies downgraded the capacity of the human imagination to conceive of and explain natural phenomena.
    [Show full text]
  • Baconiana N T
    1*5; r V ; ! 1 I Baconiana n t .- • S? if * r 1 i. I: r . •A V * * ! u Vol. IX. Third Series. BACONI ANA & <&uarterlp jHaga^me LONDON GAY & CO., 22 BEDFORD STREET W.C. I 9 I I “ Therefore we shall make our judgment upon the things themselves as they give light one to another and, as we can, dig Truth out of the mine? —Francis Bacon. CONTENTS. PAGE I Cannot Tell: Shakespeare, Bacon, and Tennyson ... 35 Bacon’s Argosies and Convoy ...................................... 38 Ghost in His Own Hamlet................................................. 43 Bacon in France ............................................................. 50 Francis Bacon’s appointment as K.C................... 97 Bacon as Playwright............................................................. ... 102 Massive Facts......................................................................... ... 110 Holo-Femes; Holo-Comes.................................................. ... 114 Reviews.................................................................................... 65, 125 To Francis Bacon ............................................................. ... 136 John Barclay’s “Argenis” and Bacon’s Secret Life ... ... 137 Timothe Bright ............................................................. ... 161 Bacon on Veracity ............................................................. ... 169 Disguised Portraits............................................................. ... 174 Bacon in Italy......................................................................... ... 177 Romeo’s
    [Show full text]