Ronsard's Contentious Sisters: The Paragone between Poetry and Painting in the Works of Pierre de Ronsard

2000 ◽  
Vol 31 (1) ◽  
pp. 295
Author(s):  
Geoffrey R. Hope ◽  
Pierre de Ronsard ◽  
Roberto Campo
Keyword(s):  
Pierre De Ronsard

Pierre de Ronsard: Selected Poems

1976 ◽  
Vol 71 (4) ◽  
pp. 918
Author(s):  
Keith Cameron ◽  
Christine M. Scollen
Keyword(s):  
Pierre De Ronsard

scholarly journals Pierre de Ronsard, Œuvres complètes

Variants ◽  
2019 ◽  
pp. 200-202
Author(s):  
François Rouget
Keyword(s):  
Pierre De Ronsard

Terre's Brilliant Mines

Exterranean ◽  
2019 ◽  
pp. 41-56
Author(s):  
Phillip John Usher
Keyword(s):  
Sixteenth Century ◽  
Pierre De Ronsard ◽  
Poetic Text ◽  
French Author ◽  
The Way

This chapter turns to a mid-sixteenth-century poetic text, the “Hymne de l’or” (Hymn to Gold) by French author Pierre de Ronsard. The poem is read here—recuperating in particular its “vision” of Terre that generations of critics have written off as a mere aside—as a poem ever conscious about gold’s exterranean origins and as a kind of poetic counterpart to nonpoetic texts about mining such as Georgius Agricola’s Bermannus (1500) and Vannoccio Biringuccio’s metallurgical treatise De la Pirotechnia (1540). After analyzing the “vision” of Terre in some detail, especially the way that Terre is described as always already containing not just gold, but mines, the chapter explores how Ronsard juxtaposes (in somewhat problematic ways) specific sites of extraction.

Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century

1994 ◽  
Vol 13 ◽  
pp. 1-63 ◽  
Author(s):  
Howard Mayer Brown
Keyword(s):  
Sixteenth Century ◽  
Subject Matter ◽  
Ancient Greece ◽  
World Order ◽  
Pierre De Ronsard ◽  
Ideal Form ◽  
Literary Sources ◽  
The World ◽  
The Subject ◽  
Crucial Part

By praising rulers, whose magnificence formed a crucial part of the world order, Pierre de Ronsard and his French colleagues in the second half of the sixteenth century often depicted the world not as it was but as it ought to be. This idea informs Margaret McGowan's book on ideal forms in the age of Ronsard, in which she explores the ways poets and painters extolled the virtues and the theatrical magnificence of perfect princes following the Horatian dictum ut pictura poesis: as is painting so is poetry. McGowan demonstrates the virtuosity of the painters and poets of the sixteenth century in shaping their hymns of praise from the subject matter and ideals of ancient Greece and Rome by following Horace's advice to regard paintings as mute poems and poems as speaking pictures. McGowan shows how artists and intellectuals pursued their goals by creating four kinds of ideal form: iconic forms, sacred images derived from classical literary sources offering princes some guarantee of immortality; triumphal forms that evoke the heroic imperial past; ideal forms of beauty to be found in contemplating the beloved; and dancing forms that mirror rituals of celebration. McGowan claims that such ideal forms were intended to enlighten the ruler himself as much as they celebrated his grandeur in the eyes of others.

Sign in / Sign up

Export Citation Format

Share Document