Anne de Graville's 1521 translation of Boccacio's epic the Teseida delle nozze d'Emilia was part of a global movement striving to defend and illustrate the French language. The first part of this thesis thus studies the genesis of the defense and illustration of vernacular languages undertaking, while the second part raises theoretical problems regarding the distinction of genres, while putting particular emphasis on the work of Anne de Graville, a generally overlooked writer belonging to the group called "les Rhetoriqueurs". The terms epopee and roman are then studied from a philological angle. This study starts with the hypothesis that, throughout the Middle Ages and the Renaissance, these two words are virtually synonymous. Finally, through Joachim du Bellay's denigrating satire "Le poete courtisan" and in reference to the bipolar model of poet and orator, are studied the specific aesthetics of the courtly poet. (Abstract shortened by UMI.)

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The people of the Middle Ages believed animals were disconnected from themselves in terms of ability to reason and ability to resist passions. Humans and animals were created by God, but he bestowed man with a soul and the ability to resist earthly delights. When men were described in terms of their bestial counterparts it was conventionally meant to highlight some derogatory aspect of that character. Chaucer makes use of the animal-image throughout The Canterbury Tales, especially in "The Knight's Tale," to stress a break in each character from humane reason or to emphasize a lean towards a bestial nature. The degree of this departure is showcased in the ferocity of the animal-image in question and the behavior and nature of the character, i.e. the animals of a more timid nature or neutral standing highlight a much less negative nature than the ferocious predators present in the battle scenes.