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This creative thesis, History Has the Voice of a Bird-Filled Tree, is a collection of poems about the communal, familial, and physical landscapes we grow up in. The manuscript explores the accidental body of knowledge we accumulate over a lifetime: those lessons we do not actively seek to learn and that no one sets out to teach us, but that mark us, and make us who we are. The landscape of this manuscript is not an exact replication of an existing town or existing family, but what the poet Richard Hugo refers to as a “triggering town.” This removal frees the internal biographer and historian to write openly about experiences without guilt or sanitization of a symbolic past. The narrative is mostly true with just enough fibbery to protect both the innocent and guilty alike.

“Original Sin”—evocative and powerful words, but what if they were applied to one of the world’s most popular fairy tales? This thesis explores Snow White in the context of the Seven Deadly Sins and the grand fall of Adam and Eve. The forbidden fruit manifests itself in different ways, pulling the prim and proper princess into places she never could have imagined. But what of the Wicked Queen, here known as Lilith? She too feels the bite of the world’s sick sense of humor, exacting revenge on those who have wronged her. Are these poems about them? Or are they about the author? Perhaps they are both: the innocent children learn quickly of life’s cruelty, handling it with equal parts grace and selfishness. Dive into the minds of Lilith and Snow White as they explore what it means to be themselves in a world that doesn’t care if they end up happy.

Among those who interpreted the poetry of Li Shang-Yin in the early Qing Dynasty, Zhu He-Ling was the one that took the lead. He interpreted the poetry of Li Shang-Yin on Qian Qian-Yi¡¦s instructions. It was a time of dynasty changes and literary inquisition, similar to the late Tang Dynasty. The poetry of Li Shang-Yin, poet of the late Tang, was ambiguous and obscure, which provided an opportunity for Zhu who was in the same situation as Li-Shang-Yin to display his commentary ability. Zhu adopted the method of ¡§zhi ren lun shi¡¨ to interpret Li¡¦s poems, which is a method of understanding a person by researching the historical background. After ¡§Explanatory Notes of the Poetry Collection of Li Yi-Shan¡¨ was published, it evoked resonance among readers. Therefore, it is now an important book for studying Li¡¦s poems. If the process of how Zhu finished the book could be understood and the essence and features of the book could be outlined and summarized, it would be beneficial for researching the poet Li Shang-Yin and his poems. This dissertation is composed of five chapters. The first chapter- introduction- contains the purpose and method of the study. The life and characteristics of Zhu and the gist of ¡§Explanatory Notes of the Poetry Collection of Li Yi-Shan¡¨ were also introduced. The second chapter-the historical background of Zhu He-ling¡¦s interpretation of Li Yi-Shan¡¦s poems-indicates that the author wrote and developed the concept of shishi (¸Ö¥v) and bixin (¤ñ¿³) under the influence of the political and social environment and the academic atmosphere at that time. This chapter also discusses the process of how Zhu finished the book and compares the differences in different versions in order to highlight the outcomes of Zhu¡¦s studies. In chapter three-the style and structure of ¡§Explanatory notes of the poetry collection of Li-Yi-Shan¡¨- the style and structure of the explanation, interpretation and quotation in the book were analyzed. By doing this, Zhu¡¦s devotion to interpreting Li¡¦s poems and to preserving predecessors¡¦ works could be easily seen. Chapter four-the contribution and defect of ¡§Explanatory notes of the poetry collection of Li-Yi-Shan¡¨-depicts the contribution and defect of the book for those who study Li Shang-Yin¡¦s poems. Chapter five-conclusion- summarizes the main ideas from chapter two to four in the hope that the whole picture of ¡§Explanatory notes of the poetry collection of Li-Yi-Shan¡¨ could be understood.

Cette thèse se propose d’étudier comment, entre 1527 et 1555, l’affermissement de l’épître en vers à l’intérieur du champ poétique s’est produit par une diminution paradoxale de son statut, depuis le prestige de l’héroïde ovidienne jusqu’à la forme modeste et familière dépréciée par Du Bellay dans la Deffence et Illustration de la langue Françoise (1549). Lieux de construction d’une figure auctoriale affirmée, les recueils d’auteur ont constitué le medium privilégié de cette « personnalisation » du genre épistolaire. Dans une première partie, une analyse diachronique révèle qu’aux balbutiements imprimés de l’épître personnelle (1527-1532) succède une période d’hégémonie éditoriale du modèle familier (1532-1549), avant que la diffusion imprimée de l’épître ne soit corrélée à la défense d’une poétique « marotique » (1549-1555). La deuxième partie examine les représentations de l’épître personnelle à l’intérieur du corpus : celle-ci s’affirme en exhibant sa modestie, que ce soit par la revendication d’un intertexte récent, par l’élaboration d’un decorum soulignant la marginalité du poète ou par la mise en œuvre d’une poétique du sermo. La troisième partie articule les approches matérielle et poétique pour monter comment la dispositio des sections épistolaires donne à voir le surgissement d’une familiarité débordant les principes de composition chronologiques et hiérarchiques, en même temps qu’elle exprime la singularité de cette nouvelle poétique épistolaire. / This dissertation offers to uncover how, between 1527 and 1555, the establishment of the French verse epistle as a poetic genre paradoxically happened through a diminishing of its status, from the prestigious Ovidian héroïde to the “low” familiar type criticized by Du Bellay in his Deffence et Illustration de la langue Françoise (1549). It argues that the marotique-type printed collections, which are built around the assertion of a strong auctorial figure, played a great part in this transformation, as they proved to be a designated supporting medium for the “personalization” of the epistle. The first part of this thesis analyzes from a diachronic perspective the interplay between the poetic establishment of the genre and its anthologization: this led to the singling out of a first period in which poets explored the genre through the debuting medium of the recueil d’auteur (1527-1532), a second period that consecrated the printed familiar epistle (1532-1549) and a third period during which epistles’ authors redefined the genre in order to challenge Du Bellay (1549-1555). The next part investigates the way printed epistolary collections reflect a specific image of the genre, which asserts itself by highlighting its own modest status, whether this means hiding its Horatian background, emphasizing the humble social status of the poet or elaborating a decorum that revolves around marginality. Finally, a third part analyzes the dispositio of several emblematic epistolary collections, arguing that the order through which the epistles were displayed was orientating the readers’ reception of the genre as well as expressing the singularity of the epistolary poetics elaborated by our authors.