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CLEMENT MAROT: THE UNION OF POETRY AND MUSIC Item Type text; Dissertation-Reproduction (electronic) Authors Mills-Pont, Jeanne Dorothée, 1927- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 02:51:48 Link to Item http://hdl.handle.net/10150/290316 INFORMATION TO USERS This dissertation 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. University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 A Xerox Education Company 73-13,324 MILLS-PONT, Jeanne Dorothle, 1927- CLEMENT MAROT:. THE UNION OF POETRY AND MUSIC. [Portions of Text in French]. The University of Arizona, Ph.D., 1972 Language and Literature, modern i University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. CLEMENT MAROT: THE UNION OF POETRY AND MUSIC by Jeanne Dorothee Mills-Pont A Dissertation Submitted to the Faculty of the DEPARTMENT OF ROMANCE LANGUAGES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN FRENCH In the Graduate College THE UNIVERSITY OF ARIZONA 19 7 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Jeanne Dorothee Mills-Pont entitled Clement Marot; The Union of Poetry and Music be accepted as fulfilling the dissertation requirement of the degree of Doctor of Philosophy P rA, CjL— <T/ 1 ^ / 1 Dissertation Director Date L,,.- //fcjesr 4/1* I*. iVssertation Co-direc)tor Date After inspection of the final copy of the dissertation, the following members of the Final Examination Committee concur in its approval and recommend its acceptance:* H (t-c\ il - f/>/>^ This approval and acceptance is contingent on the candidate's adequate performance and defense of this dissertation at the final oral examination. The inclusion of this sheet bound into the library copy of the dissertation is evidence of satisfactory performance at the final examination. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms, A Xerox Education Company STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allow able without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manu script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, how ever, permission must be obtained from the author. SIGNED^X2^d^-G^/V9 Jt'llk " "t&Uf A la memoire de mon pere CHARLES ERNEST PONT Mort n'y mord (Devise de Marot) iii PREFACE Over a century ago Henry Morley deplored the fact that the truth was not being told about Clement Marot. His chief concern was the discrepancy between Marot1s life as Marot told it in his poetry and his editor's interpretation of it. If Henry Morley were alive today he would be most pleased to see that justice is being done. Marot has a new editor, C. A. Mayer, who not only is preparing a critical edition of our poet's complete works, with studies of poetic forms, notes, variants and bibliography, but who also has devoted many articles and books to the supplanting of the idle imaginations of which Morley spoke. Many other scholars in recent years have added their energies to ferreting out truth and affording to Marot the honors he deserves. There remain, however, areas where justice needs to be done. My concern is to clarify Marot's role, which has been overshadowed by the claims of another, in the much discussed union of poetry and music. This study is the culmination of six years of as sociation with the Departments of Romance Languages and of Music. I am indebted to Dr. Renato Rosaldo and members of the professorial staff in French for having made it possi ble for me to come to the University of Arizona by awarding me a National Defense Education Act Fellowship to pursue iv V course work in French language and literature and in musi- cology. I am also indebted to the Graduate College, in particular Dean Curtis Merritt, for the granting of a Pre- Doctoral Fellowship to assist me in research. During the preparation of this dissertation, from inception to final draught, it has been my singular good fortune to have had the help of a great number of kind and generous people. The University Library has made available to me a wealth of material. I should like to thank Mr. Cecil Wellborn and members of his staff in the Loan Division, Mr. John McKay of Inter-Library Loan, Miss Patricia Turner and members of her staff in the Humanities Division, and Miss Elsie Phillips and her staff in the Music Library. They have all responded graciously to my many needs. Professor Daniel Heartz (University of California at Berkeley) and Monsieur Franqois Lesure (Bibliotheque nationale) helped with musicological questions. Dr. Heartz kindly sent offprints of two of his articles dealing with aspects of sixteenth century music which are of particular interest to me, as well as a copy of a modern transcription of Janequin's setting of one of Marot's epigrams. Monsieur Piquard, Head Curator at the Bibliotheque Mazarine, promptly sent a photocopy of the original setting published in 1536. Lore Bravmann Prag assisted with trans lations from the German. Catherine Reuben shared her vi findings, which have not yet been published, on Marot's paraphrases of the Psalms, Professors Loyal A. Gryting and Charles I. Rosenberg kindly read a very rough draught and made helpful suggestions. Many friends have encouraged me and helped in countless ways. To all I am deeply grateful. A special acknowledgement is made to Professor C. A. Mayer of the University of Liverpool whose interest and encouragement have been an inspiration, and whose help on matters of detail concerning Marot's poetry has been indispensable; and to Monsieur Pierre Pidoux, organist at the Temple de Montreux, who willingly discussed with me certain aspects of my work and who made available to me his volumes on the French Psalter, along with his annotations, corrections and clarifications. My greatest debt is due to Dr» Prank M. Chambers, professor of French, and to Dr. James R. Anthony, professor of musicology. It was while studying the poetry and music of the sixteenth century in seminars directed by them that I first became keenly interested in Clement Marot and the chanson repertory of his time. Interest led to inquiry; inquiry led to research and discovery. For whatever merit the fruit of this research may have I am profoundly grate ful to them both for variously directing and stimulating me in the course of its preparation. They have given un selfishly of their wisdom and energy; they have indulged me with kindness and forbearance. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS ix ABSTRACT XX 1. INTRODUCTION 1 2. THE PRINCE OF POETS 16 Ronsard in the Shadow of Marot 16 Ronsard and the Union of Poetry and Music . 36 Ronsard1 s Verse Set to Music . 57 3. CLEMENT MAROT: A BIOGRAPHY 78 4. MAROT ON POETRY, MUSIC AND THEIR UNION 124 5. MAROT'S SECULAR VERSE SET TO MUSIC 150 Epitaph 152 Epistle 153 Etrenne 154 Elegy 155 Epigram 158 Sonnet 173 Ballade 178 Rondeau 183 Chanson 139 6. MAROT«S PSALM TRANSLATIONS 214 7.