« Des vers hors de rime, et de raison » : réflexions poétiques et définition de soi dans Les Amours de Christofle de Beaujeu
Read by a limited readership of critics and connoiseurs of literary curiosities, Christofle de Beaujeu’s work has often been subject to negative judgment. "Unrestrained" or "mediocre" are the adjectives most often applied to it. Beaujeu’s major work, the collected Amours, contain...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | French |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Iter Press
2019
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| In: |
Renaissance and reformation
Year: 2019, Volume: 42, Issue: 1, Pages: 283-302 |
| RelBib Classification: | KBG France TJ Modern history ZA Social sciences |
| Online Access: |
Volltext (kostenfrei) Volltext (lizenzpflichtig) |
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| 520 | |a Read by a limited readership of critics and connoiseurs of literary curiosities, Christofle de Beaujeu’s work has often been subject to negative judgment. "Unrestrained" or "mediocre" are the adjectives most often applied to it. Beaujeu’s major work, the collected Amours, contains a few introductory texts where the author attempts to define his expected readership by pointing out what he considers to be his virtues, while at the same time trying to justify what he himself feels will be hindrances to their understanding. The aim of this article is to inquire into the nature of these hindrances and how the poet’s vision of his art very quickly comes into conflict with the new aesthetic values emerging at the end of the sixteenth century. | ||
| 520 | |a Lu par un lectorat restreint composé de critiques et d’amateurs de curiosités littéraires, l’œuvre de Christofle de Beaujeu a souvent fait l’objet d’un jugement négatif. « Torrentueux » ou « médiocre » sont les adjectifs les plus employés à son endroit. Le recueil des Amours, principal texte de Beaujeu, contient quelques textes introductifs où l’auteur tente de définir le lectorat qu’il attend en mettant en avant ce qu’il considère comme ses atouts tout en essayant de justifier ce qu’il perçoit lui-même comme des obstacles à la compréhension. Le but de cet article est de se demander quels sont ces obstacles et comment la vision que le poète a de son art entre très vite en conflit avec le nouveau goût qui émerge à la fin du XVIe siècle. | ||
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