Pierre de Ronsard

Pierre de Ronsard
Collège de Navarre
Literary movement	La Pléiade
Notable works	Les Odes, Les Amours, Sonnets pour Hélène, Discours
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Pierre de Ronsard (French pronunciation: [pjɛʁ də ʁɔ̃saʁ]; 11 September 1524 – 27 December 1585) was a French poet or, as his own generation in France called him, a "prince of poets".

Ronsard was born at Manoir de la Possonnière in the village of Couture-sur-Loir, Vendômois. His father served Francis I as maître d'hôtel du roi. Ronsard received an education at home before attending the College of Navarre in Paris at age nine. He later travelled extensively, including visits to Scotland, Flanders, and Holland. After a hearing impairment halted his diplomatic career, Ronsard dedicated himself to study at the Collège Coqueret.

He became the acknowledged leader of the

Pierre de Ronsard was born at the Manoir de la Possonnière, in the village of Couture-sur-Loir, Vendômois (in present-day Loir-et-Cher). Baudouin de Ronsard or Rossart was the founder of the French branch of the house, and made his mark in the early stages of the Hundred Years' War. The poet's father was Louis de Ronsard, and his mother was Jeanne de Chaudrier, who came from a noble and well-connected family. Pierre was the youngest son. Louis de Ronsard was maître d'hôtel du roi to Francis I, whose captivity after Pavia had just been ameliorated by treaty, and who had to leave home shortly after Pierre's birth.

The future poet was educated at home in his earliest years and sent to the

Further travel took him to Flanders, Holland, and again, for a short time, Scotland, on diplomatic missions on with Claude d'Humières, seigneur de Lassigny.^[2] He then became secretary to the suite of Lazare de Baïf, the father of his future colleague in the Pléiade and his companion on this occasion, Antoine de Baïf, at the diet of Speyer. Afterwards he joined the entourage of the cardinal du Bellay-Langey; his notorious quarrel with François Rabelais dates from this period.

Studies

His apparently promising diplomatic career was cut short by an attack of deafness following a 1540 visit, as part of legation to Alsace, that no physician could cure; he would subsequently determine to devote himself to study. The institution he chose for the purpose among the numerous schools and colleges of Paris was the Collège Coqueret, the principal of which was

Ronsard's period of study occupied seven years, and the first manifesto of the new literary movement, which was to apply to the vernacular the principles of criticism and scholarship learnt from the classics, came not from him but from Du Bellay. The Défense et illustration de la langue française of the latter appeared in 1549, and the Pléiade (or Brigade, as it was first called) may be said to have been then launched. It consisted, as its name implies, of seven writers whose names are sometimes differently enumerated, though the orthodox canon is beyond doubt composed of Ronsard, Du Bellay, Baïf, Belleau, Pontus de Tyard (a man of rank and position who had exemplified the principles of the friends earlier), Jodelle the dramatist, and Daurat. Ronsard's own work came a little later, and a rather idle story is told of a trick of Du Bellay's which at last determined him to publish. Some single and minor pieces, an epithalamium on Antoine de Bourbon and Jeanne de Navarre (1550), a "Hymne de la France" (1549), an "Ode a la Paix," preceded the publication in 1550 of the four first books ("first" is characteristic and noteworthy) of the Odes of Pierre de Ronsard.

This was followed in 1552 by the publication of his Amours de Cassandre with the fifth book of Odes, dedicated to the 15-year-old Cassandre Salviati, whom he had met at Blois and followed to her father's Château de Talcy. These books excited a violent literary quarrel. Marot was dead, but he left numerous followers, some of whom saw in the stricter literary critique of the Pléiade, in its outspoken contempt of merely vernacular and medieval forms, in its strenuous advice to French poetry to "follow the ancients," and so forth, an insult to the author of the Adolescence Clémentine and his school.^[3]

Fame

His popularity in his own time was overwhelming and immediate, and his prosperity was unbroken. He published his Hymns, dedicated to Margaret de Valois, in 1555; the conclusion of the Amours, addressed to another heroine, in 1556; and then a collection of Œuvres completes, said to be due to the invitation of Mary Stuart, Queen of Francis II, in 1560; with Elégies, mascarades et bergeries in 1565. To this same year belongs his most important and interesting Abrégé de l'art poétique français.

The rapid change of sovereigns did Ronsard no harm.

According to some words of his own, they were not contented with this variety of argument, but attempted to have him assassinated. During this period, Ronsard began writing the epic poem the

, which had occurred about a fortnight before its publication. One party in the state were certain to look coldly on the work of a minion of the court at such a juncture, the other had something else to think of.

The death of Charles made little difference in the court favour which Ronsard enjoyed, but, combined with his increasing infirmities, it seems to have determined him to quit court life. During his last days he lived chiefly at a house which he possessed in

Elizabeth I of England. Mary, Queen of Scots addressed him from her prison, and Tasso

consulted him on the Gerusalemme.

Final years

His last years were saddened not merely by the death of many of his closest friends, but by increasing ill health. This did not interfere with the quality of his literary work; he was rarely idle, and some of his final verse is among his best. But he indulged the temptation to alter his work repeatedly, and many of his later alterations are not improvements. Towards the end of 1585 his health deteriorated, and he seems to have moved restlessly from one of his houses to another for some months. When the end came—which, though in great pain, he met in a resolute and religious manner—he was at his priory of Saint-Cosme in Touraine, and he was buried in the church of that name on Friday, 27 December 1585.

Works

The character and fortunes of Ronsard's works are among the most remarkable in

Malherbe, who seems to have been animated with a sort of personal hatred of Ronsard, though it is not clear that they ever met. After Malherbe, the rising glory of Corneille and his contemporaries obscured the tentative and unequal work of the Pléiade, which was, moreover, directly attacked by Boileau

himself, the dictator of French criticism in the last half of the 17th century.

Then Ronsard was, except by a few men of taste, such as Jean de La Bruyère and Fénelon, forgotten when he was not sneered at. In this condition he remained during the whole 18th century and the first quarter of the 19th. The Romantic revival, seeing in him a victim of its special bête noire Boileau, and attracted by his splendid diction, rich metrical faculty, and combination of classical and medieval peculiarities, adopted his name as a kind of battle-cry, and for the moment exaggerated his merits somewhat. The critical work of Sainte-Beuve in his Tableau de la littérature française au 16ème siècle, and later of other authors, has established Ronsard's reputation.

Ronsard was the acknowledged chief of the

Pléiade

and its most voluminous poet. He was probably also its best, though a few isolated pieces of Belleau excel him in airy lightness of touch. Several sonnets of Du Bellay exhibit the melancholy of the Renaissance more perfectly than anything of his, and the finest passages of the Tragiques and the Divine Sep'Maine surpass his work in command of the alexandrine and in power of turning it to the purposes of satirical invective and descriptive narration. But that work is very extensive (we possess at a rough guess not much short of a hundred thousand lines of his), and it is extraordinarily varied in form. He did not introduce the sonnet into France, but he practised it soon after its introduction and with skill - the famous "Quand vous serez bien vieille" being one of the acknowledged gems of French literature.

His many odes are interesting, and at best are fine compositions. He began by imitating the strophic arrangement of the ancients, but very soon had the wisdom to desert this for a kind of adjustment of the Horatian ode to rhyme, instead of exact quantitative metre. In this latter kind he devised some exquisitely melodious rhythms of which, till our own day, the secret died with the 17th century. His more sustained work sometimes displays a bad selection of measure; and his occasional poetry—epistles, eclogues, elegies, etc.--is injured by its vast volume. But the preface to the Franciade is a fine piece of verse, superior (it is in alexandrines) to the poem itself. In general, Ronsard is best in his amatory verse (the long series of sonnets and odes to Cassandre, Pikles, Marie, Genévre, Héléne—Héléne de Surgeres, a later and mainly "literary" love—etc.), and in his descriptions of the country (the famous "Ode à Cassandre[1]," the "Fontaine Bellerie," the "Forêt de Gastine," and so forth), which are graceful and fresh. He used the graceful diminutives which his school set in fashion. He knew well too how to manage the gorgeous adjectives ("marbrine," "cinabrine," "ivoirine" and the like) which were another fancy of the Pléiade. In short, Ronsard shows eminently the two great attractions of French 16th-century poetry as compared with that of the two following ages - magnificence of language and imagery and graceful variety of metre.

Bibliography

Château de Blois

.

The chief separately published works of Ronsard are noted above. However, during his life he produced a vast number of separate publications, some of them mere pamphlets or broadsheets, which from time to time he collected, often striking out others at the same time, in the successive editions of his works. Of these he himself published seven - the first in 1560, the last in 1584. Between his death and the year 1630 ten more complete editions were published, the most famous of which is the folio of 1609. A copy of this presented by

Maxime du Camp

, has a place of its own in French literary history. The work of Claude Binet in 1586, Discours de la vie de Pierre de Ronsard, is very important for early information, and the author seems to have revised some of Ronsard's work under the poet's own direction.

From 1630 Ronsard was not again reprinted for more than two centuries. Yet just before the close of the second Sainte-Beuve printed a selection of his poems to accompany the above-mentioned Tableau (1828). There are also selections, Choix de poésies - publiées par A. Noël (in the

Marty-Laveaux

(1887–1893), and another that of Benjamin Pifteau (1891).

Notes

1. ^ This was under the tutelage of a certain "le seigneur Paul" who read passages to Ronsard daily from Homer and Virgil. See Charles Graves, Lyrics of Ronsard, London: Oliver and Boyd, 1967. p. 11.
2. ^ Charles Graves, Lyrics of Ronsard, London: Oliver and Boyd, 1967, p. 12.
3. Marguerite de Valois
   , the king's sister, afterwards duchess of Savoy, is said to have snatched the book from Saint-Gelais and insisted on reading it herself, with the result of general applause. Henceforward, if not before, his acceptance as a poet was not doubtful, and indeed the tradition of his having to fight his way against cabals is almost entirely unsupported.

References

•  This article incorporates text from a publication now in the public domain: Saintsbury, George (1911). "Ronsard, Pierre de". Encyclopædia Britannica. Vol. 23 (11th ed.). pp. 691–693.

Further reading

General

• Hennigfeld, Ursula: Der ruinierte Körper: Petrarkistische Sonette in transkultureller Perspektive Würzburg: Königshausen & Neumann, 2008.

Criticism

• Sainte-Beuve
  , articles in the Causeries du lundi.
• F. L. Lucas, "The Prince of Court-Poets", an essay on Ronsard in Studies French and English (London, 1934), pp. 76–114. (Online. Revised edition 1950; reprinted in The Cassell Miscellany (London, 1958).

External links

Wikimedia Commons has media related to Pierre de Ronsard.

Wikiquote has quotations related to Pierre de Ronsard.

• Biography, Bibliography, Analysis (in French)
• Podcast: Audio reading of the poem «Je n'ai plus que les os» (in French)
• Background and digital facsimiles of rare editions of Ronsard's works At the University of Virginia's Gordon Collection
• Works by or about Pierre de Ronsard at Internet Archive
• Works by Pierre de Ronsard at LibriVox (public domain audiobooks)
• Elégies, XXIV, Contre les bûcherons de la forêt de Gastin (in French)