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Durham E-Theses Durham E-Theses The poetry of Theophile De Viau with special reference to his themes and images Pritchard, J. V. How to cite: Pritchard, J. V. (1967) The poetry of Theophile De Viau with special reference to his themes and images, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9743/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk THE POETRY OF THEOPHILE DE 7IAU with special reference to his themes and images. The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. TABLE OF CONTENTS INTRODUCTION lm The literature of the early 17th.century - theme and image in the poem - characteristics of Theophile's poetry. AN UNSTABLE WORLD Inconstancy 10. Importance of the theme at the time - Thee— phile's predecessors and contemporaries - Thlophile's use of the theme - his view of the human condition - sea imagery,- storm imagery - water imagery. Death 43. Importance of the theme at the time - physical horror - Theophile's treatment of the theme - imagery of the desert - love and death - the prison poems - Theophile's attitude to death. Conclusion 81. Popularity of these themes reflect the int• ellectual climate - a heightened awareness of change - instability Reflected in ThSophile's - poetic style - the structure of the poem - the parts not the whole. A SENSUOUS WORLD Nature and the natural life. 96. Nature's role in creation and control - Nature and the individual - man1s essence - sensuous pleasure natural and good - definitions of the natural life in Theophile's poetry. Sensual love 110 Conventional love imagery - love a source of physical pleasure - the litier's dream . Nature and the retreat from the world 116. Popularity of the theme before Theophile - insistence on moral superiority of country life - the lover's retreat - the poet dreamer - escape from reality - Theophile's rustic nost• algia - the Garonne - the Lettre a son Frere - La Maison de Silvie - realistic description. A dissected nature 125. Theophile's preference for the details of the scene - separate sketches in his poems - birds - flowers - fruit - snow - similar technique in other poets. The concrete image 134.. Early 17th. century imagery - religious imagery - Theophile and the concrete image - multiple images - light and dark. Conclusion H7. Theophile's positive attitude to a world whose instability is reflected in many aspects of his work. AN ARTIFICIAL WORLD Introduction 150. Art and Nature in Theophile's theory and practice. Art and Nature: the theory of poetry 151. Theophile's view of inspiration and composition - his admiration for Hardy - the language of poetry - Theophile's theory - a natural diction - Theophile on mythology - his condemnation of artifice - Theophile's practice - mythology - artifice. Art and Nature: description 169. Theories of the role of art - for Theophile nature superior to art - poetry should reproduce nature, it cannot embellish it - realistic description in Theophile - the 17th. centiry view - art imposes order on nature - 17th. century gardens - artificial nature in Theophile - La Maison de Silvie - the landscape of the desert. Conclusion 183• Theophile's ideas on art and nature applied to social relationships - a condemnation of disguise and affectation - the position of the poet - truth or servility. GENERAL CONCLUSION 188 • The man features of Theophile's poetry - evidence of an unstable world - sensuality - artificiality - importance of the image - Theorhile and the baroque - his individuality. Bibliography Editions of Theophile's works 195. Studies of Theophile 19$. Editions of other writers 198. Studies of other writers 204. Literary History 208. Poetic Theory 208. Nature 209. Thought and Ideas 210. The Baroque 211. Preciosite 215. Index of Names Quoted 216. INTRODUCTION Until relatively recently the literature of the first half of the seventeenth century in Prance has received less attention than it deserves. There has "been a tendency to regard the first years of the century as a period of preparation for the achievements of the gener• ation of 1660, a fashion set, it should he noted by the writers of that generation themselves who were prone to disparage the work of their predecessors (l). Of recent years however, the attention of critics has been drawn more and more to this period (2); a reassess• ment of the poetry of the Metaphysical in England has encouraged the appreciation of a certain kind of poetic writing, which, it is said, may be found in the work of poets on both sides of the channel at this time. The period is indeed notable for its poetry, and it is often a poetry of a kind which is not to be found later in the century. Malherbe has, of course, consistently received the homage of posterity, but largely because his work has been said to look forward to the 1. Saint-Evremond for example notes this change in opinion and points to features which invited the criticisms of the second half of the century: Dans ma jeunesse on admirait Theophile malgr6 ses irregu• larity's et ses negligences qui echappaient au peu de d£licatesse des courtisans de ce temps. Je l'ai vu de'crier depuis par tous les versificateurs sans aucun regard a sa belle imagination, aux graces heureuses de son ge'nie. Oeuvres Melees de Saint-Evremond, ed. Giraud Paris 1865, Vol. II, p.465. 2. See lousset La Litterature de l'Age Baroque en France, 1954 de Mourgues Metaphysical, Baroque and Pre'cieux Poetry, 1955* Buffum Studies in the Baroque from Montaigne to Rotrou, 1957• Special Issue of XVIIe Siecle, 1953? Du Baroque au Classique Cahier de I'Association Internationale des Etudes Francaises July 1951. Rousset Anthologie de la Poesie Baroque Franqaise, 2 Vols. I96I. 2. form of artistic expression which we now call classicism. He too has been regarded as a forerunner. It is now being recognised however, that this judgement fails to take into account certain important features of his work (l). A similar kind of selective treatment has been applied to the period as a whole. There is, of course, evidence to suggest that there was a ten• dency towards classical order and stability in literary form and expression, with which the name of MaUaerbe may justly be associated; but to point to evidence suggesting such a trend while ignoring that which seems to contradict it is to misrepresent the situation at the time. Some writers in fact show little readiness to fall in with, such a trend towards order. Many of the features of the art of the time suggest a form which is in essence anti-classicals ideas tend to be expressed in concrete terms which appeal to the senses rather than to the intellect. The poetry of the time in particular abounds in concrete sensuous imagery which later writers were to renounce. Of the poets whose work cannot be fitted easily into the frame• work of classicism Theophile de Viau is one of the most outstanding, though he is one among several. A period which produced Malherbe, Saint-Amant, Tristan and Theophile, to name only the better known, was evidently rich in poetry of considerable variety. The work of such poets should not be regarded as inferior merely because it is different from a literary form which has been treated as if it were characteristic of the century as a whole, but which in fact belongs 1. See for example Lebegue, Les Larmes de Saint Pierre, poeme baroque, B.H.S., July-Dec, 1949. 3. to only part of it. Much of this poetry must have seemed strange and unbalanced to the ear attuned to the harmony of the perfected alexan• drine: some of it would appear fantastic to those accustomed to the polished world of the honnSte home. The disordered brilliance of this poetry failed to please the taste of the later part of the century, when a greater insistence on the value of harmony achieved by improved technique, led to a rejection of the achievements of the earlier poets along with their technical faults. We intend in these pages to examine the themes and images which appear in the poetry of Theophile. We have chosen to set his poetry against the background of the poetry of his predecessors and contem• poraries, in the belief that the work of this poet, like that of many others, cannot be fully appreciated without reference to other work of the same period. By examining this particular poet in relation to contemporary thought, poetic theory and practice, we can more easily assess the personal qualities of his work and at the same time under• stand what it has in common with the poetry of the time. The apparent separation of the matter of poetry into theme and image in our title requires a word of explanation. Our first reaction to the phrase might be to define theme as the subject of the poem and image as illustration of the subject.
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