Ronsard’s Hymnes : a literary and iconographical study by Philip Ford PDF

By Philip Ford

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Comanini's discussion is in // Figino, and is available in P. Barocchi, Tratatti d'arte del cinquecento, vol. 3 (Bari: Laterza, 1962). The Theoretical Background wisdom, piety, etc. Finally, there is also 31 no lack of the more ab- struse, apparently shocking allegory associated with inspired poetry, including a number of portrayals of the adultery of Mars and Venus. We shall largely concentrate on these last two types of art in this study. Both were allegorical traditions at work in the visual arts and poetry before Ronsard began work on his own compositions.

Augustine, himself an avid reader of Neo-Platonic writers. It is clearly he who provides Ronsard with some of his ideas about the divine poets. In the City of God 18. Proclus's remarks cal, *' Pontus de Tyard, of course, was another member of the Pleiade who had no problems in reconciling Neo-Platonism with Christianity, and his beliefs did not prevent his appointment by the ecclesiastical authorities as bishop of Chalon-surSaone in 1578. Similarly, Sebillet speaks of Moses, David, Solomon, Jeremiah and other Old Testament prophets in the same breath as ancient Greek prophets or poets such as Orpheus and Homer {Art poetique, 11-13).

Proclus no doubt derives these two categories of mimetic poetry from Plato's Sophist, 235d-236c. The Theoretical Background seeks to persuade by emotional means 27 {\l/vxoiyo)yLa). Thus, avoided. "Eikastic" (or "image-making") mimetic poetry, hand, aims at While not being positively harmful, two kinds of it is inferior poetry. Didactic poetry appeals to the mind and teaches us about both they can be determined by the intelphenomena, in as far as and also ethical matters. This kind of poetry may be understood natural lect, to be an accurate representation of reality, and appeals to our sense perceptions.

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