Mémoire--UFR Littérature & linguistique françaises et latines, 2008--Paris 3. / Mémoire de L'Université Paris III, Sorbonne nouvelle, UFR Littérature & linguistique françaises et latines. Bibliogr. p. 216-222. Index.

Inaug.-Diss. - Königsberg. / Lebenslauf.

Thèse--Université de Paris.

No description available.

Thèse--Université de Paris.

This thesis is a study of two basic qualities of the poet Joachim du Bellay, which combined to produce a satirist of the first rank, as well as a poet of dazzling variety. These two qualities, his idealism and his practical common sense, existed throughout his life, and served to counterbalance each other. Orphaned at an early age, with a guardian who took little interest in him, his childhood was a lonely one. A love for the beautiful Loire valley where he was born remained with him all his, life. He read widely and gained a thorough knowledge of French literature. His formal studies began at the University of Poitiers where he soon gave up his interest in the law, to pursue a literary career. He then came to Paris as a student at the College de Coqueret, under the guidance of Jean Dorat. Here, he immersed himself in the study of Greek, Latin, and Italian and rejoiced in the friendships and discussions of student life. In 1549 appeared two major works. His Deffence et Illustration de la langue francoyse is probably the work of several hands. Nevertheless, we notice the fortuitous combination of his idealism and his practicality. Only an idealist could hope to change the course of French language and literature by a manifesto urging his colleagues to write in their own tongue, to study and to learn from other sources, but always to strive to enrich their own language and literature. He then gives very practical suggestions for achieving this goal. L'Olive, a collection of sonnets, appeared in 1549 as well. Petrarch is his model, and it is a work borrowed almost completely from Italian literatures. He portrays an idealized woman in vague, ethereal terms, with no evidence of any living counterpart. Obviously he has not experienced the love of which he writes. In his poetry written in Rome, where he observes the Italian courtisans, he takes a more practical interest in women. He falls in love with Faustine, only to lose her. His love poetry becomes more satiric and more sensual. His youthful idealism fades as he describes the women encountered in Rome. Du Bellay believes completely in the Platonic view of the poet - that he is a being set apart and given a special destiny in the world. His mission is to sing the praises of the king and of his family, God's earthly representatives. Consequently we find much court poetry celebrating events and people. Combined with this idealistic viewpoint, we see again the practical side of his nature. Du Bellay is aware of the system of royal patronage, and covets as post at the court. Just before he leaves Rome to return to Paris, we notice an unusually large number of sonnets praising various influential people in Paris. In 1553, he accompanied his relative, Cardinal du Bellay, to Rome where he served as his secretary - a position which involved handling the finances for a household of more than one hundred people, and much negotiation with Italian bankers and money-lenders. A measure of his practical ability is the success with which he managed this. Rome had been the centre of civilization and was the focal point of his studies. His first impressions at seeing the ruins of the great Roman empire are described in his Antiquites de Rome. The sense of nostalgia and dismay at the fragility of what had seemed eternal is the work of a disappointed and disillusioned idealist. His common sense soon establishes itself as he observes the Italians and their way of life. He is interested in the details and the mechanics of Roman society and politics, which he expresses vividly in his Regrets. His idealistic nature measures how far removed is the reality from his ideal of life in Rome. His practical nature realizes the futility of lamentation, and turns reality into a matter for satire. The irony of the Regrets is often cynical and bitter. His natural wit and vivacity eventually produce a more mellow and refined satire. He suffers from deafness and from an illness which incapacitates him, and finally kills him at the age of 37. He is embroiled in family law suits concerning various estates. Yet he is able to lead a more or less contented life. Being a practical man, he makes the most of what he has, often to the point of idealizing his consolations. His friends, especially Ronsard, play a dominant role in his life and in his poetry. His love of nature is evident in his harming pastoral poetry and his national pride is intensified by his visit to Rome. The writing of poetry is his greatest pleasure and at the same time acts as a catharsis for the tragedy and disappointments he encounters. He returns to Paris in 1558 and a survey of his poetry at this time, reveals a return to the influence of Petrarch and of neoplatonism, seen in his Amours. He continues to write for the royal family. The Poete-Courtisan is written, which satirizes the advice he gave as a youthful poet in his Deffence. After visiting Geneva, he makes fun of the pretensions of Calvinism. Then he writes a final manifesto which reveals the brilliance and depth of his thought and observation. In l’Ample discours au Roi, he analyses lucidly the society and the government of France. We see his idealism and his hope that the evils of the country can be remedied. Again his practical nature shows exactly where the evils lie, and what specific steps must be taken to better the lot of the great mass of the people. Tracing his poetry through youthful idealism, cynical disillusion, and finally to a coming to terms with life, this thesis is concerned with the influence on du Bellay's poetry of two dominant traits of his character - his idealism and his practical common sense. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Inaug.-Diss.--Würzburg. / Vita. Bibliography: p. iii-xxi.

Thesis (doctoral)--Universiteit op Donderdag, 1927. / Includes bibliographical references (p. [159]-162).

Les affrontements militaires entre François Ier et Charles Quint ont façonné toute l’histoire politique de la première moitié du XVIe siècle. Or, ces guerres se sont accompagnées de part et d’autre d’un important effort de justification, chaque parti se proclamant dans son bon droit. D’autre part, les différents épisodes militaires et diplomatiques qui rythment la période suscitent toute une littérature occasionnelle, en prose et en vers, diffusée à l’échelle européenne par la presse imprimée. La guerre de 1542-1544 représente un pic dans la production de ce type de textes, qu’il s’agisse de célébrations poétiques composés par les auteurs de la Cour, ou de simple « bulletins d’information » évoquant une escarmouche en quelques pages. L’objet du présent travail est d’en étudier les modes d’écriture, pour essayer de comprendre ce que les hommes de la Renaissance pouvaient lire à propos des événements qu’ils vivaient de près ou de loin. Entre propagande, rumeurs, fausses nouvelles, goût du vers et plaisir du récit, comment écrivait-on, à l’époque de François Ier et de Charles Quint, à propos d’une guerre en train de se dérouler ? Pour tenter de répondre à cette question, nous consacrons une première partie aux problèmes de mise en page et mise en texte posés par le caractère imprimé de ces textes ; dans une deuxième partie, nous abordons les genres dans lesquels ils s’inscrivent ; enfin, dans une troisième partie, nous proposons quelques éléments d’étude de leur réception au moment de leur publication ou dans les quelques décennies qui suivent. / The military confrontation between Francis I and Charles V was prominent in the shaping of the political history of the early 16th century. These wars came along with an important effort of justification, each side claiming that they were justly defending themselves. Besides, the various military or diplomatic episodes that occur during that time gave birth to a rich event-driven literature, in prose as in verse, which circulated on an European scale by the printed press. The 1542-1544 war is particularly interesting in the matter of production of such texts, be it by the means of poetic celebrations from the Court, or by simple « informations sheets » describing a skirmish in few pages. My purpose in the present work is to study how those texts were written, in order to understand what the men of the Renaissance could read about the events they were living, closely or remotely. Between propaganda, rumors, false news, taste for poetry and pleasure of the narration, how did one write in the time of Francis I and Charles V about a war that was currently raging ? In a tentative to give an answer to that question, the first part of my work is dedicated to layout and text-shaping problems that are raised by the printed nature of those texts ; in a second part, I tackle the subject of the genres in which they fit ; at last, in a third part, I suggest a few avenues of analysis about their reception at the moment of their publication or in the closest following decades.

Cette thèse se propose d’étudier comment la lecture de Virgile informe toute l’oeuvre bellayenne, voire définit et révèle la poésie et la figure du poète bellayens. Dans une première partie, un état des lieux de la réception du texte virgilien de l’Antiquité à la Renaissance nous fait découvrir les moyens mis à disposition de Du Bellay pour lire et imiter Virgile, la lecture se révélant indissociable de l’écriture. Un premier relevé et une première typologie des emprunts à Virgile dans l’oeuvre bellayenne (1549-1560) permettent alors de dégager des éléments d’analyse de l’imitation de Virgile par Du Bellay. La deuxième partie examine alors de manière diachronique la notion d’”innutrition” virgilienne. Elle met ainsi en relief l’année 1552, année de la traduction des livres quatre et six de l’Enéide, année charnière dans la production poétique bellayenne, où s'opère l’assimilation du texte virgilien et le passage à une véritable réécriture de Virgile dans les poèmes ultérieurs (1552-1560). La troisième partie articule ces enjeux proprement poétiques aux enjeux socio-politiques dans la mesure où elle met au jour les enjeux de cette imitation de Virgile par Du Bellay, en particulier la définition de sa place de poète au sein de la cité dans les recueils romains (1558) et surtout dans les discours politiques des dernières années (1558-1560). / This dissertation presents a critical analysis of the way reading Virgil impacted the works of Du Bellay, even so far as to define and reveal Du Bellay’s poetry and his figure as a poet.In the first part, an assessment of the various tools for reading Virgilian texts from Antiquity to the Renaissance brings to light the means available to Du Bellay in order to read and imitate Virgil – his reading of Virgil and his own writing being intrinsically associated. A preliminary listing and categorization of the elements Du Bellay borrowed from Virgil in his works from 1549 to 1560 makes it possible to highlight ways to analyze how Virgil is imitated by Du Bellay. The second part then examines in a diachronic fashion the notion of Virgilian “innutrition”. This part thus draws particular attention to 1552, year of the translation of books four and six of The Aeneid, a pivotal year in Du Bellay’s poetic production for it seemed to have born witness to his assimilation of Virgilian texts and his moving on to genuine rewriting of Virgil in his later poems from 1552 to 1560.The third part articulates the specifically poetic issues to socio-political concerns, insofar as it exposes the purpose of Du Bellay in his imitation of Virgil, most particularly the definition of his position as a poet within the city in the Roman collections (1558) and especially in the political speeches from the later years (1558-1560).