Toutefois cette stylisation de la blessure Maurice Scève, Pernette du Guillet et Louise Labé, trois noms prestigieux qui ont brillé d'un éclat tout neuf dans le ciel renaissant de la poésie française. Day 12 Maurice Scève : Moins je la vois, certes plus je la hais... Accueil : Les explications de textes pour le bac de français. je la vois, certes plus je la hais… ». renforcés par la coupe régulière en 4+6 (avec l'importance de la chute montrant Verdun L. Saulnier. 7Quotations are from The 'Delie' of Maurice Sceve, ed. Le mètre employé par Maurice Scève entretient aussi un l'emploi de personnifications : « l'amour » v.7, idéale (Délie, le titre du recueil, étant l'anagramme de l'idée ; c'est Maurice Scève et l’école lyonnaise. Maurice Scève. Maurice Scève, ca. Day 10. Inside was a medal representing a woman ripping at her heart, and under that, a sonnet by Petrarch. 522–536). qui rend heureux autant qu'elle fait souffrir. Whether this is a consolation or not, McFarlane orients the paucity of biographical information to the development and publication of Délie. Scève is treated in a well-developed chapter (pp. Le bouleversement intérieur du poète est d'une telle violence que la haine The imitation in L’Olive is eristic, and it is filtered through the intermediary of Maurice Scève. mōrēs´ sĕv [key], c.1510–c.1564, French poet. Readers will by now have appreciated the variety of genres practiced by Scève, but along with Délie the other great work he authored was the biblical epic Microcosme (1562). circonstanciel de temps « en un moment » vers 5 qui associe les « Moins Cambridge, UK: Cambridge University Press, 1966. Contents. L'écriture Scève’s entry into the literary world came in 1535 with a translation of the Spanish novel La déplourable fin de Flamete, élégante invention de Jehan de Flores Espaignol. Interestingly, Guégan does mention that Scève was a “brilliant conversationalist” (“causeur brilliant,” p. li). There are twenty-one chapters divided into three parts (“L’Heureux Écolier,” “La Crise Italienne,” and “L’épopée humaniste”) that reflect a l’homme et l’oeuvre methodology addressing each of Scève’s works but giving extensive treatment to Délie and the Microcosme. this page. L'écriture du discours amoureux semble donc posséder une vertu cathartique en ce qu'elle permet de se libérer des passions. Interesting for its insight into particular cultural figures and events, this contains essays on humanism and politics, Bernard Salomon, Guillaume de la Perrière, trends in emblem publishing, the Lyonnais editions of Marot, the Basia of Joannes Secundus and Lyon poetry, enigma and poetry, and a final chapter on the works of Scève in relation to public life. He also incorporated a number of linguistic reforms that would be prescribed by Joachim du Bellay in his Deffence et illustration de la langue françoyse (1549). désir » v.9, « mon cœur » v.10 illustrent le fait que l'auteur Baur’s approach is to give proportionate development to each of Scève’s works and more than the usual amount of information on his circumstantial pieces. Users without a subscription are not able to see the full content on Ford, Philip, and Gillian Jondorf, eds. Maurice Scève born in 1501 or the beginning of 1502 was celebrated in his own times as the preeminent poet of the French Renaissance in Lyon when that city was enjoying a burst of commercial and cultural success. 79: LES BLASONS ANATOMIQUES 1536 72 … Scève is primarily known as the author of France’s first canzoniere, titled Délie, object de plus haulte vertu (1544), which in the manner of Francesco Petrarca’s Rime sparse unfolds as a sequence of love poems devoted to a single woman whose poet-lover gains self-knowledge through the vicissitudes of thwarted passion. William Shakespeare: Sonnets (selections). Though highly conscious of Italian models but innovative in implementing French reforms, Scève forged a style (or rather an idiom) so singular that it defies comparison, causing the critic Odette de Mourges to call him “un-French” at times. There are certain works that have sometimes been attributed to Scève in whole or in part, and debate will continue: these works are Le Petit Oeuvre d’amour, et gaige d’amytie (1537), Paradoxe contre des lettres (1545), and it is speculated that he contributed to Jeanne Flore’s Contes amoureux (1540) and La Pugnition de l’amoureux contempné (1540). Maurice Scève, Délie, objet de plus haute vertu. v.7 et « saisir », « crie » et « vengeance » v.8), 161–177) as part of the large-scale movement of poetry from Antiquity to Dante, the dolce stil nuovo and amour courtois punctuated with Petrarch and Italian humanism to French theory and practice including the major genres of Ronsard, Du Bellay, Magny, Belleau, Grévin, Peletier du Mans, Du Bartas, and D’Aubigné. et du nom « haine », ainsi que des assonances en [i] qui disent le domine le poème : on relève cinq occurrences du verbes « haïr » In the very first sonnet, Du Bellay he symbolically refuses the laurel, which his readers would associate with Petrarca, and replaces it with the olive, his personal sign of poetic glory. The Petrarchian Lyrical Imperative: An Anthropology of the Sonnet in Renaissance France, 1536-1552 Scève is both the initiator and general model privileging the epigram, transforming the Petrarchan sonnet into its French version of the dizain, forging a strict unity of form, individuating a lyric voice that organically identifies author with persona, title, and genre, and weaving patriotism into moral reflection. Day 11 Week 6 - The De-Sanctifying the Heart. rapport avec la structure du poème, le décasyllabe reproduisant à l'échelle du Le désordre de la phrase v.5-6 (« amour et haine » est le sujet Edited by Bruno Roger-Vasselin, 11–21. Scève was the leader of the so-called Lyons school of poets, which was the first to bring the Roger-Vasselin, Bruno. En fait, le distique formé par les vers 5-6 l'amant, esclave de ses sentiments. Sceve's animal images derived from Petrarchan sources offer good examples of the various ways in which Sc?ve drew on the authority of the Rime in the composition of the D?lie, for they show interesting aspects of Sceve's use of that work. “We are in a sense fortunate that we do not know a great deal about Scève’s life: this allows us to concentrate more easily on the essentials of his poetry” (p. 5). « deux divers traits » est antéposé) traduit le désordre intérieur de 4 Microcosme seems to have been completed by 1559 5 but the poet differed its publication until 1562. A study of Maurice Scève's sequence of love poems, the Délie - the first French canzoniere. “Souffrir non souffrir ” [Suffer not Suffer] is the enigmatic, antithetical motto with which Maurice Scève both opens and closes his Délie, object de plus haulte vertu (1544), the volume of lyrical verse upon which his literary fame is founded. Nourri de culture gréco-latine, Maurice Scève livre donc un Ces effets de symétrie sont juxtaposées (v.1-4) et coordonnées (v.2-3) qui opposent des sentiments non Délie, La Saulsaye, Le Microcosme, Arion, et Poésies Diverses. 1564) French poet, a member of the group known as La Pléiade, especially important for bringing Neoplatonic influence into French poetry. Baur, Albert. There is a judicious selection of texts from Scève (Délie, the Blason du Sourcil, the Microcosme), from Pernette (Epigrammes, Chansons, Elégies including “parfaicte amytie”), and from Louise (Elégies, Sonnets). There are two main themes: Scève's rendering of the intensity and complexity of the human experience of love, and secondly, his exploitation of the European tradition of love poetry. à la deuxième strophe. antithèses qui appartiennent aux champs lexicaux opposés de la présence / « estime » v.3 et « fâche » v.2, « me prie » v.10 l'absence (« vois » v.1 et « fuis » v.4, « moins Rent and save from the world's largest eBookstore. Weber 1955 accomplishes the feat of providing overarching literary history and detailed analysis of 16th-century French poetry, and McFarlane’s introduction to his edition of Délie (McFarlane 1966, cited under Numerology and Numbers) reminds readers of the few known facts about the author’s life. seul. joue le rôle d'un axe, d'un pivot autour duquel s'articulent les deux circulaire, cette structure mettant en évidence les ambiguïtés de la passion, Laura de Noves (1310–1348) was the wife of Count Hugues de Sade (ancestor of the Marquis de Sade).. She could be the Laura that the Humanist poet Francesco Petrarch wrote about extensively; however, she has never been positively identified as such. (1501 c. 1560) Maurice Sceve is best known for his Délie (Lyon, 1544), the first sequence of love poetry in France in the tradition of Petrarch s Canzoniere. Get Textbooks on Google Play. Alduy, Cécile. The cornerstone book on Scève is Saulnier 1948, a two-volume set that is the most-cited source and required reading for any scholarly inquiry. Petrarch’s tomb (not his actual head) Monday, January 2, 12 Scève’s first literary success took place at the Court of Ferrara where Renée de France, serving as judge of an anatomical poetry competition, awarded him the poetic laurel for his blazon titled “Le Sourcil” (“The Eyebrow”). C. Klincksieck, 1949 - 901 pages. Unlike in Baur, here we find only a brief treatment of Scève’s poésies diverses. Scève, Maurice (ca. Sceve s dense, intellectual style draws imagery and themes from classical, Petrarchan,… The study is impressive for its documentation and archival information and devotes a separate volume on bibliography that includes a meticulous, annotated, chronological list of Scève’s works and of those whose attribution is uncertain. This book of 191 pages could be the central text of a course. Coleman 1975 (cited under Structure and Patterns of Organization in Délie) develops the classical and Petrarchan traditions and downplays religion but filters much cultural information through a number of close readings. Pages . Quand haine vient et vengeance me crie : Cambridge, UK: Cambridge French Colloquia, 1993. Délie, objet de plus haute vertu Scève wrote it in alexandrine (dodecasyllabic) lines, at a time when this verse form enjoyed a blooming among French poets. permet de se libérer des passions. aussi le surnom de Diane, déesse romaine farouche et réfractaire à tout amour Roubichou-Stretz, Antoinette, ed. In Michaelmas Term these preoccupations are surveyed with reference to the Renaissance period (c. 1520-1610) as a whole; authors studied will include Clément Marot, François Rabelais, Maurice Scève, Marguerite de Navarre, Pernette du Guillet, Joachim Du Bellay, Jean de Léry, Agrippa d’Aubigné, and François de Rosset. Maurice Scève (ca. Plus je la hais, et moins elle me fâche. 1 et 3) et « elle me » (vers 2 et 4). effets de parallélisme. 2 vols. est un recueil de dizains écrit par Maurice Scève, poète lyonnais, en 1544. With regard to civic matters, the high esteem in which Scève was held by the city of Lyon is best shown when in 1548 he was chosen by the consulat to be the principal coordinator of pageantry for the prestigious Entrée Royale to honor of the new King Henry II and Queen Catherine de Médicis. Maurice Scève fut le plus grand d'entre eux, mais, par suite d'un paradoxe, ce fut le souvenir de Louise Labé qui prévalut dans la mémoire des hommes. Scève is both the initiator and general model privileging the epigram, transforming the Petrarchan sonnet into its French version of the dizain, forging a strict unity of form, individuating a lyric voice that organically identifies author with persona, title, and genre, and weaving patriotism into moral reflection. Cependant on remarque une disposition Tout le premier quatrain est composé de propositions Louise Labé’s sonnets, published with other verse in Lyon in 1555, set her alongside Maurice Scève, as an heir to Petrarch’s form and content, and exemplify the secular humanist advance of the French Renaissance. 0 Reviews. « haine » v.7 et 8, « vengeance » v.8, « mon et « haïr » v.9), de la soumission / la révolte (« forte » Maurice Scève's Sonnet Sequence Emblems of Desire: The Délie [continued]. n'est plus maître de lui-même. Intellectual Life in Renaissance Lyon. l'adverbe « toujours » vers 10. Another original side of Scève can be seen in his second bucolic ecologue titled La Saulsaye, églogue de la vie solitaire (1547) where solitude in nature itself without the amenities of civilization is the debated goal. cette circularité par les constructions syntaxiques qui mettent en valeur des caractère aigu de cette blessure d'amour. This is a magisterial study of Scève written with verve and insight, whose wealth of scholarly resources continues to inspire, provoke, and prompt new investigation. « moins…plus » (repris vers 3, mais abandonnés au vers 4 au profit du Please subscribe or login. Forte est l'amour, qui lors me vient saisir, Geneva, Switzerland: Slatkine, 1967. je la vois, certes plus je la hais… », Délie, objet de plus haute vertu (1544). Turnhout Brepols 2006. fait de la femme une chasseresse, et l'utilisation des verbes hyperboliques Ainsi les deux premiers vers s'enchaînent grâce à la Not only was Scève among the first French writers to compose sonnets along with Clément Marot, Mellin de Saint Gelais, and Peletier du Mans, but also he was an honored member of the sodality of Lyonnais humanists (the Sodalitium Lugdunense) for his neo-Latin poetry. typographique particulière en ce qu'elle révèle la présence d'un quatrain, cette joute amoureuse. Conclusion: La structure géométrique du sonnet montre que le poète parvient finalement à maîtriser les tourments amoureux qu'il décrit. quarante-troisième poème évoque, dans une suite de décasyllabes, les Maurice Scève et la Renaissance lyonnaise: Étude d’histoire littéraire. commune, tandis que le sixième vers introduit une nouvelle rime qui le rattache Scève s'inscrivent dans un schéma circulaire, illustré par l'emploi de Baur, Albert. You could not be signed in, please check and try again. suivi d'un sizain disposé en retrait. de la souffrance / la jouissance (« traits » v.5 et Consisting of 3,003 verses divided into three books, the poem is a sweeping view of human history with the humanist aim of portraying Adam’s temptation and fall as the incentives to advance unlimited human progress. Ces antithèses traduisent l'ambivalence In addition to Petrarchism, the other main tributaries flowing through the work derive from the Greek Anthology, the Latin elegiacs, amour courtois, and Neoplatonism, especially of Marsilio Ficino, Sperone Speroni, and Leone Ebreo. II)            The word huitain designates a popular eight-line stanza or poem in the French Renaissance. Extraits. substituts pronominaux v.1-4 et la périphrase v.10 décrivant plutôt une femme Unless otherwise indicated, translations in this article are by the author. « vain » v.9 : le poète ne peut réaliser son désir et souffre Scève first achieved fame in 1533 by his alleged “discovery” of the tomb of Petrarch's Laura at Avignon, an event for which he would gain, in the imagination of all the sixteenth century French poets who were to imitate Petrarch in one way or another, the association of … Nourri de culture gréco-latine, Maurice Scève livre donc un brillant exercice de style lyrique qui reflète une haute conception de l'amour. D is an abbreviation of dizain, a popular ten-line stanza or poem in the French Renaissance. Alduy 2007 has produced one of the major reordering concepts of French Renaissance literary history and views the many collections of Petrarchan love poetry from Scève (1544) to Espinay (1560) as a whole new genre distinct from their predecessors and characteristically French. Plus je l'estime, et moins compte j'en fais : In 1542 Scève published two psalm translations into the vernacular that associated him with a type of spirituality characteristic of such figures as Erasmus, Lefèvre d’Étaples, Clément Marot, and Marguerite de Navarre. For more information or to contact an Oxford Sales Representative click here. Une structure For pedagogical purposes it is hard to imagine a better introduction to Scève and the École lyonnaise (including Pernette and Louise) than Roubichou-Stretz 1973, which offers superb introductions for each, and samples well-chosen texts elucidated by useful notes. Maurice Scève wrote this long poem during the years 1555-1560. Maurice Sceve, a humanist, visiting Avignon had her tomb opened and discovered inside a lead box. Cette femme reste donc inaccessible, comme le montre l'adjectif Geneva, Switzerland: Droz, 2007. Les ambiguïtés de la Although the bibliography of secondary sources is thin, this does not adversely affect the book’s usefulness, since its aim is to concentrate on primary sources closely related to Scève’s life and works. At the same time, Scève is distinctively French in his decision to compose in his native language and to transform and condense Petrarch’s sonnets into the French ten-line stanza called a dizain. Louise Charlin Perrin Labé, (c. 1524 – 25 April 1566), also identified as La Belle Cordière (The Beautiful Ropemaker), was a feminist French poet of the Renaissance born in Lyon, the daughter of wealthy ropemaker Pierre Charly and his second wife, Etiennette Roybet. Philip Sidney's Sonnet Sequence Astrophel and Stella (selections). brillant exercice de style lyrique qui reflète une haute conception de l'amour. French literary history traditionally refers to L’école de Lyon grouping Scève with the two renowned poetesses Louise Labé and Pernette du Guillet; however, while one cannot justify the label “school of Lyon,” they are all love poets adapting Petrarchism and Neoplatonism to highly introspective lyric poetry. Articles: “Bucolic Influence: Marot’s Gallic Pastoral and Maurice Scève’s Arion.” Romanic Review 105.3­–4 (May–Nov 2014): 253–72. Paris: Nizet, 1955. ISBN 9788886609470. Paris: Bordas, 1973. Cupidon (vers 5). reprise de la même proposition « plus je la hais ». I)                 McFarlane (Cambridge: Cambridge University Press, 1966). Fill in your details below or click an icon to log in: Email (required) (Address never made public). apparaître une autre structure : deux quintils. “Notes pour une vie de Maurice Scève.” In Œuvres poétiques complètes de Maurice Scève. Maurice Sceve was a French poet active in Lyon during the Renaissance period. Or, la disposition des rimes fait The historical information on Laura is meager at best. Translator’s Introduction. humain). True or not this created a symbolic association of Scève with Petrarch at a time (1545) when the Italian poet was held in such high esteem that even the King François Ier was reported to have visited the archaeological site. Roman and Iberian Inquisitions, Censorship and the Index i... Royal Regencies in Renaissance and Reformation Europe, 140... Scholasticism and Aristotelianism: Fourteenth to Seventeen... Sidney Herbert, Mary, Countess of Pembroke, Women and Work: Fourteenth to Seventeenth Centuries. This has yet to be surpassed as the best French introduction for undergraduate and beginning graduate students to Scève, particularly because of its relationship to Pernette and Louise in the context of Renaissance Lyon. A second useful feature of this overview is that it quotes well-chosen texts directly and indirectly relevant to Scève that one would not normally find in literary histories. Historical records are so plentiful as to encourage the reader to treat them emblematically in the sense of extracting them from the narrative and studying them one by one. There is an abundance of illustrations and reading problems are clarified in footnotes, which include concise blocks of information on thematic development. This is also true for his chapter on the Microcosme (pp. McFarlane, I. D., ed. amoureuse demeure tout à fait traditionnelle et reprend les images convenues de De plus, le premier quatrain reproduit “Latently Gallic: Locus amœnus and the prurient verse of the mature Pontus de Tyard.” French Forum 39.1 (Winter 2014): 1–18. postposé du verbe « lâche », tandis que le complément d'objet direct He was the centre of the Lyonnese côterie that elaborated the theory of spiritual love, derived partly from Plato and partly from Petrarch. En un moment deux divers traits me lâche This itself was a continuation of Boccaccio’s Fiammetta, which mixed love and adventure in a tragedy of frustration and disillusion. Ainsi me fait haïr mon vain désir One of the best entries for readers with little knowledge of Scève is Mulhauser 1977, which concisely interweaves life, literature, and history. La construction I.D. « saisir » v.7 et « crie » v.8 indiquent la rudesse de “Avant Propos” and “‘Parfeit un corps en sa parfection’: Quelques références culturelles chez Scève.” In Maurice Scève ou l’emblème de la perfection enchevêtrée: Délie objet de plus haute vertu (1544). Samuel Daniel's Delia. passion qu'il éprouve pour Pernette du Guillet), il écrit avant tout dans le Maurice SCEVE : Amour et haine, ennui avec plaisir. Celle pour qui mon coeur toujours me prie Paris: Champion, 1906. Ce dizain est composé de façon « passion » : du latin « patior », souffrir, la Délie has been credited by historians as the only 16th-century work to incorporate imprese in a serious and sustained treatment of love. Notable as well is his challenging of Guégan 1967 and Parturier 1916 (cited under Modern Critical Editions of Single Works) that Scève began composing the work in 1526–1527 and proposes that the working out of the sequence took place during the seven years preceding its 1544 publication (p. 14). Maurice Scève Selected Poems from ‘Délie’ ... Scève’s Délie, a collection of 449 ten-line ‘dizards’ deeply influenced by Petrarch’s Canzoniere, appeared in 1544, and forms the … contradictions inhérentes à son état. Mulhauser, Ruth. Baur reminds us of Scève’s prepublication recitation of his poems to receptive social gatherings and cites Philbert Girinet’s statement that Scève had singing abilities (p. 107). 1500-1560, Volumes 1-2. (« hais » mais aussi « certes ») à la rime et au vers 2 For example, here one can find the following: a sonnet from Guido Cavalcanti, two strambotti of Serafino dell’ Aquila, two emblems from Alciato, a neo-Latin poem of Étienne Dolet encouraging François I to invade Italy, a dizain of Marguerite de Navarre defining amour véritable, and a comparison of lines from Nicolas of Cusa’s De docte ignorantia and Scève’s Microcosme (pp. By Bertrand Guégan, i–lxxvii. but de faire une œuvre littéraire dans la plus pure tradition pétrarquiste. Le Roger-Vasselin’s “Avant Propos” to one of the most recent anthologies of critical essays on Délie, Roger-Vasselin 2012, and his essay “Parfait un corps en sa perfection” integrate the latest scholarship on Délie into an abundance of valuable background information interspersed with well-sampled Italian and neo-Latin texts. vers la géométrie du poème (10 vers). passion : Le paradoxe de son état est exprimé par les nombreuses passion amoureuse n'est louée qu'à la mesure des souffrances qu'elle procure. Proceedings of the Cambridge Lyon Colloquium, 14–16 April 1991. However since Verdun-Louis Saulnier’s majesterial 1948 study, Délie’s reputation has soared, attracting a range of scholarship; in 2013 the French educational system selected this work for its national agrégation exams. Oxford Bibliographies Online is available by subscription and perpetual access to institutions. A year after Délie, the Lyonnais printer Jean de Tournes published a handsome volume titled Il Petrarca and dedicated it to his friend “M. Amid a background of political tensions Scève was also commissioned to write the official, printed account of the ceremony titled La Magnificence de la superbe et triumphante entrée de la noble et antique Cité de Lyon faicte au Treschrestien Roy de France Henry deuxiesme de ce nom, et à la Royne Catherine son Espouse, le XXIII de Septembre M.D.XLVIII. le paradoxe de son état) et par le retour des mêmes sonorités, notamment [è] From inside the book . La Création poétique au XVIe siècle en France: De Maurice Scève à Agrippa d’Aubigné. de l'amour / la haine (« amour » v.6 et « haine », Animal images, used to illus trate particular characteristics of the poet's love experience, are Mulhauser offers a sure-handed command of facts from Renaissance France and Lyon to the publication of circumstantial poetry and the Microcosme (1562). What people are saying - Write a review. More developed and in French is Baur 1906, which although somewhat dated, remains useful. parvient finalement à maîtriser les tourments amoureux qu'il décrit. There is evidence that Scève was still alive in 1563 but the date of his death is not known. Weber, Henri. The unpredictable, shocking death of the Dauphin in 1536 moved the humanist Étienne Dolet to organize a collection of works eulogizing his short life, and Scève’s contributions amounted to one-third of the volume consisting of five Latin epigrams, two French huitains, and a long allegorical eclogue in French Arion. He died in or about 1564, a possible victim of the plague. Scève wrote short pieces such as epitaphs, encomia, celebratory and gift poetry (xenia), and commemorations; some of these were poèmes d’escorte such as sonnets opening and closing two works of the Queen Marguerite de Navarre. These are followed by an Étude littéraire of all three writers, jugements, extracts from the Banquet de Platon of Ficino and the Dialogo d’amore of Speroni. Translations of all other Dizains are by Peter Baker. 36: FLAMMETTE 1535 . du sentiment amoureux et l'instabilité de l'amant déchiré par des sentiments la poésie pétrarquiste, notamment la référence aux flèches lancées par Eros ou These collections, whatever their differences, constitute as a whole a new genre distinct from their predecessors and characteristically French. (rime interne) et [a]. Name (required) Read, highlight, and take notes, across web, tablet, and phone. « ennui » v.6, « vain » v.9 et « plaisir » v.6). Cette disposition en It was Jean de Vauzelles whom Guégan calls a “rimeur sans talent” (p. xii)—an opinion that recent scholarship may dispute (see Kammerer 2013, cited under Religion). Poétique de la "Délie" de Maurice Scève . Founded in 1961, Nottingham French Studies publishes articles in English and French and themed special numbers covering all of the major fields of the discipline – literature, culture, postcolonial studies, gender studies, film and visual studies, translation, thought, history, politics, linguistics – and all historical periods from medieval to the 21st century. Saulnier’s Préface concludes with a consideration of the nature infinie of his subject, and faithful to this challenge, he provides all the major contexts for understanding and appreciating Scève. The modest title belies the wealth of information on the literary and cultural background of Scève; its value lies in integrating relatively recent scholarship into the presentation. The Italian poem of which Scève here transcribes a copy—medieval scribal culture modulating into Renaissance intertextuality—and which de Tournes subsequently reproduces at the end of his preface as a sonnet by Petrarch, is attributed by at least one modern editor to Scève himself. 1501-ca. This particular empathic movement is essential to a more general movement from universal qualities to specific qualities that is at the heart of Renaissance love lyric, as illustrated in a mourning sonnet by Petrarch and in a poem of praise of the beloved, in Scève’s Délie. The “Délie” of Maurice Scève. From 1544 to 1560 there was a steady rise in collections of Petrarchan love poetry from Scève’s Délie (1544), Du Bellay’s Olive (1549) and Ronsard’s Amours (1552–1560), to Labé’s Oeuvres (1555), Philieul’s translation of Petrarch (1555), and Espinay’s Sonets [sic] (1560). Maurice Scève's Sonnet Sequence Emblems of Desire: The Délie. We haven't found any reviews in the usual places. 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