... commission to write the Franciade , but also Joachim Du Bellay were exploring epic as a change from love poetry. Having formally renounced Petrarchist lyric, Du Bellay drew on his experience in the French diplomatic service in Rome to compose his most famous sonnet collection, the Regrets . Although...

...Cynthia Nazarian This essay examines images of violence in the first French sonnet sequence, Joachim Du Bellay’s Olive , alongside his protonationalist manifesto, the Deffence et illustration de la langue françoyse . Through the omnipresent imagery of violence that links these texts, Nazarian...

.... A superficial reading of this book might view Petrarch as Hui’s main subject: although Hui keeps returning to Petrarch, to view the subsequent chapters on Francesco Colonna, Joachim Du Bellay, and Edmund Spenser as add-ons would be to underestimate Petrarch’s immense contribution to Western ideas of ruin...

..., the modern editions. The author mentions that the search for documents on the PlCiade began in the seventeenth century. Although it is impossible to enter into any detail, we may perhaps say that in 1910 Mr. Bourdeault as- certained who were the ancestors of du Bellay from the archives...

... Merchants that with weary toyle” or “This holy season fit to fast and pray” Amoretti( , 15, 22). Sans du Bellay, no “Ruines of Rome,” no “Visions of Bellay,” and probably no “Ruines of Time.” Apart from Chaucer, it is hard to think of an English poet who had as much influence on Spenser as du Bellay...

... or less closely associated with Ronsard and DU Bellay between 1549, the date of publication of the Defense et illustration de la langue francoise, and 1560, the year of Du Bellay’s death. As a general source of information concerning this group the recent Histoire de la Plkiade of Henri...

... Citie of the Lorde” (15.3). The first eleven of the fifteen “Sonets” are drawn from Du Bellay’s Songe,20 in which the poet meditates on em- blems of fallen Roman glory. The passing of Rome, mourned by Du Bellay, is offered by Van der Noot as support for the purpose of the Theatre...

...), and reports that Winckelmann entered Rome carrying the works of Voltaire (149). But his account of the Pléiade in “Joachim du Bellay” makes the connection between nationalism and decadence pivotal. Much as “Two Early French Stories” narrates the influence of France on Italian culture, “Joachim du...

... Du Bellay, from whose memoires Montaigne seems to have gotten the story, “not as an ambassador, but as if pursu- ing his own affairs” (“non comme ambassadeur, mais comme solici- tant ses propres affaires5 Unfortunately, this secret mission did not remain secret for long. Somehow it came...

..., prosody, and rhetoric to be found in the Arts poitiqiles. Rather than reprint these latter, an unnecessary task since good, modern editions exist for the most important of them, Mr. Weinberg has provided an introduction in which he analyzes the Arts poitiques of Sebillet, Du Bellay...

..., to oxymoronic surprises, to surrealistic enigmas. For rhetoric-majestic purposes Ronsard and Du Bellay, following Virgil, compete in calling Venus la Cyprienne ; Diana, l’Eph6sienne ; Juno, la Tritonienne ;lS and Cybele the Magna Mater, la BCrbcynthienne (after Mount Berecyn- tus in Phrygia...

... gives us a few data about Ronsard‘s life and works which cannot be accepted without some reservations: the use of the term baroque; Ronsard‘s birth date (generally accepted as 1522) ; the date of the first meeting between Ronsard and J. du Bellay (probably 1543) ; the peace treaty of Cambray...

... Speroni’s dialogue concludes with Cardinal Bembo’s plea for Tuscan as a properly literary language, the claim for a national language does not dominate the text. Nationalism, however, lies at the heart of Joachim du Bellay’s Deffence et illustration de la langue françoyse (1549), whose assertion...

... little more than an advertising campaign for the poetry these young men and their friends were then writing. After all, across the Channel in France, du Bellay, Ronsard, and the other members of the Pléiade had engaged in a similar campaign just a few decades earlier. They, too, had declared a need...

... in Gesualdo’s sixteenth-century commentary on the poem; they become the “night-birds” of lust in Sidney’s sonnet. The new book adds significantly to Kennedy’s earlier dossier on what turns out to have been one of Petrarch’s most imitated sonnets, with examples from Marot, Du Bellay, Scève, Tyard, Ronsard...

... of the poet, and other fundamental topics, and does not deal with the parts of the Arts poktiques devoted to rhyme, rhythm, and other technical matters. Du Bellay is represented in the present volume by his two prefaces to the Olive (1549 and MO), while the Deffense et Illustration de la langue...

... and the Platonist inspirations. The filiation might be continued, into France with Maurice Sc&veand Joachim Du Bellay and Pierre de Ronsard, on into the PlCiade group and the later sixteenth-century poets; into Spain, with Andrea Navagero as the in- termediary and Garcilaso de la Vega and BoscAn...

... themselves for their readers or listeners, and how readers or listeners fashion their own expectations of poets and poetry, even in the moment, then a big part of the story is about (say) how Horace constructs Pindaric experience, how Du Bellay constructs Horatian and Pindaric experience, how Spenser in turn...

... franqaise, nous remarquons que c’est i Ronsard que M. Hutton consacre le plus de temps, suivi dans l’ordre par Baif, Chhier, Voltaire, Boileau, du Bellay, Le Sage, etc. Si, du reste, M. Hutton consacre quatre pages ii l’auteur de Gil BZas (pp. 514-18)’ ce n’est qu’en raison du distique latin...

... mysteriously “survived the other épiceries condemned by Du Bellay.” Several recent sources, as well, endow the fixed-form villanelle with a medieval her- itage. The Longman Dictionary of Poetic Terms (1989) lists it as one of “a set of regularly rhyming and metrically patterned verse forms that orig...