The Sonnet In French Literature And The Development Of The French Sonnet Form

Excerpt from The Sonnet in French Literature and the Development of the French Sonnet Form: A Dissertation Submitted to Cornell University for the Degree of Doctor of Philosophy The object of this work has been the study of the French sonnet with especial reference to its rhyme-schemes. A resume has been given of the sonnet laws as set forth by the principal prosodists who have written upon this subject, and the rhyme schemes of all known sonnets by the principal French poets down to the middle of the Nineteenth Century have been tabu lated. As erroneous statements upon this matter abound, the tabulated forms may be of some value in refuting them. The poets have been introduced according to priority of birth. Short sketches of the lives of each poet precede the study of their use of the sonnet form. Attention has been given only to the sonnet of fourteen lines, composed of two quatrains followed by two tercets, as time has not permitted a study of the many varieties that are mentioned in the chapter on the Rules of the French sonnet. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1897 edition. Excerpt: ... a system in which rhyme was to be replaced by an arrangement of metrical feet after the manner of Latin poetry. It is needless to say that few of these alterations were destined to outlive their author. Like most of the poets of the sixteenth century, Baif began his literary activity by celebrating the charms of his love in sonnets, after the style of Petrarch. His ' Amovrs de Meline ' were published in 1552. It has been questioned whether the poems for Meline record a true passion. It is probable that they do, for, although he declares to Francine, ' Il me plaist assoupir les sons Qui bruioyent mes feintes chansons Sons le nom de Meline, Pour choifir les vrayes facons D'vne chanson plus dine." 1 and again, "I'atteigny l'an deuziesme apres vne vintaine: Et desia plus epais de barbe se frisa Mon menton blondoyant, quand Amour m'atisa Vn feu par le bel il d'vne douce inhumaine. Parauant ie chantois afranchy de sa peine: L'Enfant sous vn nom feint ecriuant m'auisa De luy sans le cognoistre: & mes vers il prisa, Et pour me faire sien a Francine me meine." 2 1 Baif, Jan Antoine de. Evvres en rime de Jan Antoine de Baif secretaire de la chambre du Roy Avec une Notice biographique et des Notes par Ch. Marty-Laveaux. Paris, Alphonse Lemerre, 5 vol. in--8, 1881-1890. Vol. 1, p. 195 2 Ed. Marty-Laveaux. Vol. I, p. 96. it is quite compatible with Baif s fickle nature to address to Francine these compliments, forgetting readily his fondness for Meline. Throughout his poems to Meline, forty-two of which are sonnets, there is present a passion which was real for the time at least, and not a Platonic passion either, as is evident from the sonnet, "O doux plaisir plein de...

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

First published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

Designed for the general reader, this splendid introduction to French literature from 842 A.D.—the date of the earliest surviving document in any Romance language—to the present decade is the most compact and imaginative single-volume guide available in English to the French literary tradition. In fact, no comparable work exists in either language. It is not the customary inventory of authors and titles but rather a collection of wide-angled views of historical and cultural phenomena. It sets before us writers, public figures, criminals, saints, and monarchs, as well as religious, cultural, and social revolutions. It gives us books, paintings, public monuments, even TV shows. Written by 164 American and European specialists, the essays are introduced by date and arranged in chronological order, but here ends the book’s resemblance to the usual history of literature. Each date is followed by a headline evoking an event that indicates the chronological point of departure. Usually the event is literary—the publication of an original work, a journal, a translation, the first performance of a play, the death of an author—but some events are literary only in terms of their repercussions and resonances. Essays devoted to a genre exist alongside essays devoted to one book, institutions are presented side by side with literary movements, and large surveys appear next to detailed discussions of specific landmarks. No article is limited to the “life and works” of a single author. Proust, for example, appears through various lenses: fleetingly, in 1701, apropos of Antoine Galland’s translation of The Thousand and One Nights; in 1898, in connection with the Dreyfus Affair; in 1905, on the occasion of the law on the separation of church and state; in 1911, in relation to Gide and their different treatments of homosexuality; and at his death in 1922. Without attempting to cover every author, work, and cultural development since the Serments de Strasbourg in 842, this history succeeds in being both informative and critical about the more than 1,000 years it describes. The contributors offer us a chance to appreciate not only French culture but also the major critical positions in literary studies today. A New History of French Literature will be essential reading for all engaged in the study of French culture and for all who are interested in it. It is an authoritative, lively, and readable volume.