THE MADRIGAL IN FRANCE TO THE END OF THE SEVENTEENTH CENTURY

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THE MADRIGAL I I FRANCE TO THE END OF THE SEVENTEENTH CENTURY

A D is s e rta tio n

P r e s e n te d to th e F a c u lty o f B ryn Mawr C o lle g e i n P a r t i a l F u l f i l l m e n t o f th e R eq u irem en ts f o r th e D egree o f D o c to r o f P h ilo s o p h y

by C a th e r in e F e h r e r

19 4 2

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

table o f

con ten ts

In tro d u c tio n r

— T

.

-





.

jj

C h a p te r I .

C h a p te r

C h a p te r

The o r i g i n o f th e m a d rig a l and i t s e a r l y h is to r y in I t a l y 1 . The o r i g i n o f th e word m ad rig al 2 . The o r i g i n o f th e m a d rig a l form 3 . The d ev elo p m en t o f th e I t a l i a n m a d rig a l i n th e 1 4 th c e n tu r y 4 . The I t a l i a n m a d rig a l d u r in g th e 1 6 th and 1 7 th c e n t u r i e s

III*

V.

X

14, 17.

27. 27. 33. 56. 39. 49,

57.

The d ev elo p m en t o f th e F ren ch m a d rig a l i n th e 1 7 th c e n tu r y u n d e r I t a l i a n in f l u e n c e 60. The n a t u r e o f th e new F ren ch m a d rig a l and e a r l y exam ples o f th e form

75.

The m a d rig a l i n th e s a lo n s and a t th e c o u r t

84.

C h a p te r V I.

P o p u l a r i t y , c r i t i c i s m and d e fe n s e o f th e m a d rig a l d u r in g th e 1 7 th c e n tu r y

99.

C h a p te r V I I . F ren ch m a d rig a l w r i t e r s o f th e 1 7 th c e n tu r y and t h e i r v e r s e

107.

C h a p te r

116.

V III

The

m a d rig a l an d th e ep ig ram



1, 2. 8.

I I . The French m a d rig a l i n th e 1 6 th c e n tu r y 1* E v id en ce r e g a r d in g th e e x is te n c e o f a m u s ic a l m a d rig a l i n F ra n c e 2 . The I t a l i a n l i t e r a r y m a d rig a l i n F r a n c e . 3 . M e llin de S a in t G e la is and th e f i r s t F ren ch m a d rig a l 4 . The m a d rig a l o f R onsard 5 . O th e r E ren ch exam ples and r e f e r e n c e s to th e m a d rig a l 6 . C o n c lu sio n

C h a p te r IV .

C h a p te r



C o n c lu sio n

133.

N o tes

137.

A ppendix

165.

B ib lio g r a p h y

172.

V ita

194.

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Introduction

The word 'm a d r i g a l ' to - d a y s u g g e s ts to m ost E n g lis h - s p e a k in g p e o p le th e ch arm in g m u s ic a l c o m p o sitio n s o f th e E liz a b e th a n m a d rig a l s c h o o l.

Through th e e n th u sia sm o f D r. F e llo w e s , h i s t o r i a n o f th e

E n g lis h m a d rig a l, and w ith th e c o l l a b o r a t i o n o f such g ro u p s a s th e E n g lish , m a d rig a l s i n g e r s , th e s e v o c a l p o ly p h o n ic c o m p o sitio n s have becom e w id e ly known i n r e c e n t y e a r s .

B u t to a s tu d e n t even s l i g h t l y

f a m i l i a r w ith F re n c h l i t e r a t u r e o f th e 1 7 th c e n tu r y th e word 'm a d r ig a l b r i n g s to mind a s h o r t p ie c e o f v e r s e in a l i g h t v e i n , u s u a ll y con­ c e rn e d w ith lo v e o r g a l l a n t r y , and b e s t i l l u s t r a t e d by th e poems o f t h e C -u irlsn d e de J u l i e .

I t i s th e b ack g ro u n d and dev elo p m en t o f t h i s

m a d rig a l w hich I in t e n d to t r a c e . I t i s e a s y to w r i t e d is p a r a g i n g ly o f th e F ren ch m a d rig a l o f th e 1 7 th c e n tu r y , a s c e r t a i n c r i t i c s h av e b een tem pted to do in th e p a s t .

B r u n e tie 'r e h a s s a id : Le m a d rig a l a e'te l e trio m p h e du 1 7 e . e t du 1 8 e . s i e c l e s f r a n q a i s , comme e t a n t , de to u s l e s g e n re s en v e r s , c e l u i q u i se p a s s e l e p lu s a ise m e n t d ' e t r e p o e tiq u e j i l l u i s u f f i t d ' e t r e a i s e , s p i r i t u e l , e le g a n t e t p o li . 1 .

A t b e s t , t h i s m a d rig a l p r e s e n ts in a gay and e n t e r t a i n i n g m anner, w ith o c c a s io n a l f l a s h e s o f t r u e p o e t i c e x p r e s s io n , an in g e n io u s o b s e r v a t i o n , com plim ent o r s l i g h t th em e.

A t w o r s t, and f a r to o

f r e q u e n t l y , i t i s an empty w o rd -p la y d e v o id o f a l l s i g n i f i c a n c e .

Y et

t h e r e was s c a r c e l y a p o e t to w ard s th e end o f th e 1 7 th c e n tu ry who d id n o t w r i t e m a d r ig a ls , and B r u n e tie r e h im s e lf a d m its th e p o p u la r i ty

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w hich th e form e n jo y e d .

The main i n t e r e s t i n a h i s t o r y o f th e

F re n c h m a d rig a l l i e s , t h e r e f o r e , n o t so much i n th e poems th e m s e lv e s a s i n t h e i r e n t h u s i a s t i c a c c e p ta n c e by F re n c h s o c ie t y and t h e i r vogue th r o u g h o u t th e 1 7 th c e n tu r y .

A num ber o f q u e s tio n s a r i s e i n c o n n e c t­

io n w ith su ch a h i s t o r y , and i t s v a lu e m ust l i e c h i e f l y i n th e d i s c u s s i o n o r s o l u t i o n o f th e s e p ro b le m s . The f i r s t q u e s tio n i s t h a t o f th e r e l a t i o n o f th e F re n c h m a d rig a l t o th e e a r l i e r I t a l i a n form o f t h a t name.

The e a r l y

h i s t o r y o f th e I t a l i a . n m a d rig a l i s i t s e l f o b s c u r e , a lth o u g h e v id e n c e o f v a r i o u s k in d s e x i s t s c o n c e rn in g i t s o r i g i n and d e v elo p m en t.

S in c e

th e word i t s e l f i s an im p o r ta n t c lu e to th e o r i g i n o f th e I t a l i a n fo rm , I hav e d e v o te d th e f i r s t p a g e s to a d is c u s s io n o f th e ety m o lo g y o f th e te rm ’m a d r i g a l '.

The I t a l i a n m a d r ig a l, a lth o u g h th e s u b je c t

o f c o n s id e r a b le r e s e a r c h on th e p a r t o f m u s ic o lo g is ts , h a s been s t r a n g e l y n e g le c te d on th e l i t e r a r y s i d e , and th e r e i s no s a t i s f a c t o r y h i s t o r y o f b o th m u s ic a l and p o e t ic fo rm s .

I n an a tte m p t t o g iv e a

c o n s e c u tiv e p i c t u r e o f th e •i t a l i a n m a d r ig a l, I have c o o r d in a te d e x i s t i n g s t u d i e s , d raw in g c o n c lu s io n s and t r a c i n g th e dev elo p m en t o f th e form w h e re v e r i t seemed p o s s i b l e to do s o .

Where p r e v io u s s t u d i e s d id n o t

e x i s t o r d id n o t a p p e a r c o n v in c in g , I h av e gone w henever p o s s i b l e to th e o r i g i n a l s o u r c e s .

I n r e f e r r i n g to th e dev elo p m en t o f th e m u s ic a l

fo rm , I h av e sim p ly a c c e p te d th e c o n c lu s io n s re a c h e d by m u s ic o lo g is ts . T h is h i s t o r i c a l a c c o u n t p r o v id e s a n e c e s s a r y background f o r th e u n d e r s ta n d in g o f th e F ren ch m a d rig a l o f th e 1 6 th and 1 7 th c e n t u r i e s .

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I n t r a c i n g th e e x t e n t o f I t a l i a n in f l u e n c e on th e d ev e lo p ­ m ent o f th e

F ren ch

c o n s id e ra tio n .

fo rm , a number o f s p e c i f i c p ro b lem s r e q u ir e d

One o f th e m ost i n t e r e s t i n g o f th e s e was th e a lm o s t

t o t a l a b s e n c e o f a F re n c h m u s ic a l m a d r ig a l.

I have a l s o a tte m p te d

to f i n d an e x p la n a tio n f o r th e p e c u l i a r form o f th e F re n c h m a d rig a l o f th e 1 6 th c e n tu r y , e s p e c i a l l y o f R o n s a rd 's 'm a d rig a 1 - s o n n e t ’ . I n w r i t i n g an a c c o u n t o f t h e m a d rig a l in F r a n c e , an a tte m p t had to b e made t o e x p l a in i t s la c k o f s u c c e s s in th e 1 6 th c e n tu ry , and on th e o t h e r hand i t s e x t r a o r d in a r y p o p u l a r i t y d u r in g th e 1 7 th c e n tu ry .

H ere I fo u n d i t n e c e s s a r y to compare th e m a d rig a l w ith

v a r i o u s o t h e r ty p e s o f v e r s e w hich w ere i n vogue d u r in g th o s e c e n t u r i e s , more p a r t i c u l a r l y w ith th e s o n n e t and th e ep ig ra m .

To e x p la in

th e m a d r i g a l 's s u c c e s s o r f a i l u r e , i t was a l s o n e c e s s a r y to examine th e c irc u m s ta n c e s u n d e r w hich th e v e r s e was w r i t t e n and t o c o n s id e r th e p u b li c f o r w hich i t was in te n d e d .

Thus I have g iv e n c o n s id e r a b le

a t t e n t i o n to th e s o c i a l g ro u p s o f th e 1 7 th c e n tu r y w hich fa v o re d t h i s ty p e o f v e r s e . In general, a chronological plan seemed the most logical for a history of this kind. strictly throughout.

However, I have not followed such a plan

It seemed

wiser to discuss separately various

aspects of the subject, and to follow the chronological order in each of these sections. Often the title of a short poetic composition is its only distinguishing feature, and I have considered as madrigals only poems which appear with that title.

This made it possible to discover the

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iv.

v a r i o u s c o n c e p tio n s o f th e m a d rig a l h e ld a t d i f f e r e n t p e r io d s in i t s h i s t o r y , an d so to t r a c e i t s d e v elo p m en t.

N ot o n ly do m a d rig a ls a p p e a r

i n c o l l e c t i o n s , b u t th e y were a l s o in c lu d e d i n l e t t e r s , n o v e ls and o th e r lo n g e r w o rk s, and t h e i r p re s e n c e i s r a r e l y in d i c a t e d i n th e t i t l e . A lth o u g h I c a n n o t c la im to f u r n is h a co m p lete b ib lio g r a p h y f o r th e m a d rig a l d u r in g th e 1 6 th and 1 7 th c e n t u r i e s , I b e l ie v e t h a t I have d is c o v e r e d th e g r e a t e r p a r t o f th e s e c o m p o s itio n s , s u f f i c i e n t c e r t a i n l y to t r a c e th e d ev elo p m en t o f th e fo rm .

I w ish h e r e to acknow ledge my v e ry g r e a t in d e b te d n e s s t o th e b r i l l i a n t te a c h in g o f th e l a t e M ad elein e S o u b e ira n .

T h is d i s s e r t a t i o n

i s an o u tg ro w th o f one o f h e r s e m in a rs . I sh o u ld l i k e

to e x p r e s s my g r a t i t u d e to M. J e a n G u ito n , who

k i n d l y c o n se n te d to ta k e o v e r th e d i r e c t i o n o f t h i s d i s s e r t a t i o n , and who h a s g iv e n much tim e and o f f e r e d many v a l u a b le s u g g e s tio n s c o n c e rn in g i t s e x e c u tio n .

I w ish a l s o to th a n k M. H e n ri P e y re , who

gave me some h e l p f u l a d v ic e and c r i t i c i s m . I am g r e a t l y in d e b te d to M ile . Jean n e S t r e i c h e r o f th e E co le N o m a le S u p e r ie u r e de S e v r e s , who h e lp e d me i n th e o r i e n t a t i o n o f my r e s e a r c h and d i r e c t e d me to o t h e r s c h o la r s who have i n many ways to th e p r e p a r a t io n o f t h i s d i s s e r t a t i o n .

c o n t r i b u te d

M. P a u l H azard

was a w i l l i n g c o u n s e ll o r d u rin g a y e a r I s p e n t in r e s e a r c h in P a r i s . S ig n o r Ferdinand© N e ri a d v is e d me in th e f i e l d o f I ta l o - F r e n c h r e l a t i o n s . S ig n o r Guido M aszo n i, M. Chamard, M. B e d a r id a , M. B a t a i l l o n and M. A d rie n C a r t a l l h e lp e d me to s o lv e p a r t i c u l a r p ro b le m s.

A t B ryn

Mawr, D r. Jo se p h E. G i l l e t and D r. A n g elin e L o g ra sso have g iven me

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b i b l i o g r a p h i c a l a i d i n th e S p a n ish and I t a l i a n f i e l d s .

I am

a l s o in d e b te d to M rs. G race F ra n k , D r. R o b e rt B roughton and •Dr. B e rth e M a r ti o f Bryn Mawr C o lle g e and to P r o f e s s o r J e a n Beck o f th e U n iv e r s it y o f P e n n s y lv a n ia .

I n th e f i e l d o f m u sic ,

M. Andre’’ P i r r o was an i n v a lu a b le g u id e .

D r. A lb e r t E i n s t e i n

p e r m i tt e d me t o exam ine some o f th e m a t e r i a l from h i s l i b r a r y . I 'o r th e k in d n e s s and h e lp o f a l l t h e s e s c h o la r s I w ish t o e x p re s s my g r a t i t u d e .

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C h a p te r I

The Origin of the ^adripal and its early History in Italy

The e a r l i e s t s u r v iv in g exam ples o f th e m a d rig a l a r e I t a l i a n and d a t e from th e f i r s t y e a r s o f th e 1 4 th c e n tu r y .

They

a r e s h o r t poem s, v a r y in g i n form and s u b j e c t , and in te n d e d to be s e t to m u s ic .

Among th e f i r s t p o e t i c m a d rig a ls w hich have come

down t o u s a r e th o s e w hich A ntonio d a Tempo gave a s exam ples o f t h i s ty p e o f c o m p o sitio n in . h i s t r e a t i s e D e lle rim e v o l g a r i o f 135?., w h ile t h e e a r l i e s t s u r v iv in g ex am p les o f th e m u s ic a l m a d rig a l a p p e a r t o b e o f a somewhat l a t e r d a t e . ’*’*

A lth o u g h da Tem po's

exam p les o f f e r a c h o ic e o f m e t r i c a l c o m b in a tio n s , th e f i r s t m u s ic a l m a d r ig a ls a r e a l r e a d y w e ll - d e f in e d p o ly p h o n ic c o m p o sitio n s b a se d on a p a t t e r n c o n s i s t i n g r e g u l a r l y o f a number o f i d e n t i c a l t i e r c e t s fo llo w e d b y one o r m ore rim ed c o u p l e t s . T hese e a r l y e x a m p le s, w hich show c o n s id e r a b le c o m p le x ity o f o r g a n i z a t i o n and a f u s io n o f p o e t i c and m u s ic a l e le m e n ts , im ply a c e r t a i n am ount o f p r e v io u s d e v e lo p m e n t.

W hile th e m u s ic a l form

o f t h e s e f i r s t m a d rig a ls re s e m b le s i n some r e s p e c t s th e co n d u ctu s o f th e p r e v io u s c e n tu r y , t h e i r p o e t i c form c a n n o t b e d i r e c t l y d e r iv e d from t h a t o f any o t h e r ty p e o f v e r s e .

R e fe re n c e s to th e

e a r l y m a d rig a l a r e s c a r c e , and i t s t r u e p r i g i n re m a in s o b s c u re . A num ber o f t h e o r i e s , how ever, h ave b e e n ad v an c ed .

It

h a s b een s u g g e s te d t h a t th e h ig h ly d e v e lo p e d 1 4 th c e n tu r y m a d rig a l we know was o f p o p u la r o r i g i n .

A lth o u g h th e

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e a r l i e s t s u r v iv in g m a d rig a ls a r e fo u n d i n I t a l y , t h e r e hav e a l s o b e e n c la im s t h a t

th e form

o rig in a te d

i n S p ain

T hese c la im s a r e

b a s e d on

e v id e n c e o f v a r io u s

and i n P ro v e n c e . k in d s ; on r e f e r e n c e s

to th e m a d r ig a l, a s tu d y o f th e form and c o n te n t o f e a r l y exam ples o r on e ty m o lo g ic a l a rg u m e n ts .

I s h a l l d is c u s s th e s e e ty m o lo g ic a l

arg u m e n ts f i r s t .

1.

The O r ig in o f th e Word M a d rig a l

O nly r e c e n t l y h a s th e e ty m o lo g ic a l s tu d y o f th e term m a d rig a l b een a p p ro a c h e d on th e b a s i s o f p h o n o lo g ic a l la w s and o f s e m a n tic s .

H ow ever, th e s c a r c i t y o f e v id e n c e r e g a r d in g th e

o r i g i n o f b o th form and word e n co u ra g ed th e f o r m a tio n o f many h y p o th e s e s .

T h ese d e s e r v e a b r i e f d is c u s s i o n , s in c e a l l have

a b e a r i n g on th e The f i r s t

e a r l y h i s t o r y o f th e c ritic a l

fo rm .

d e s c r i p t i o n o f th e m a d r ig a l, w r i t t e n

i n 1532 b y A n to n io d a Tempo im p lie s t h a t i t was o r i g i n a l l y a r u s t i c o r p a s t o r a l so n g .

H is d e r i v a t i o n o f th e word i s i n

a c c o rd a n c e w ith h i s v iew s on th e o r i g i n o f th e form : M a n d r ia lis e s t r i t h i m i s i l l e q u i v u l g a r i t e r a p p e l a t u r m a r i g a l i s . D i c i t u r autem m a n d r ia lis a m andra, pecudem, e t p asto ru m , q u ia prim o modum iliu m r it h im a n d i e t ca.nta.ndi habuim us ab ovium p a s t o r i b u s . 2 . Thus he would d e r iv e th e word from th e L a tin m an d ra, a h e r d ; This derivation, apparently explaining the origin of

th e fo rm , w ent u n q u e s tio n e d u n t i l th e 1 6 th c e n tu r y and was 5. q u i t e g e n e r a lly a c c e p te d u n t i l a s h o r t tim e a g o . '"

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D iez in c o r p o r a te d th e d e r i v a t i o n i n h i s B ty m o lo g isc h e s W o rterb u ch o f 1855 an d C a rd u c c i a c c e p te d i t u n c r i t i c a l l y , b a s in g on i t h i s th e o r y o f ’p o p u la r o r i g i n ', i n an o th e rw is e u s e f u l s tu d y o f th e 1 4 th c e n tu r y m a d rig a l. The f i r s t a tte m p t a t p h i l o l o g i c a l - d i s c u s s i o n o f t h i s d e r i v a t i o n seems to h av e b e e n made by Menage o r by one o f h i s c o l l a b o r a t o r s i n th e posthum ous e d i t i o n o f h i s d i c t i o n a r y . 5 * A c c o rd in g t o h i s th e o r y , t h e n o f m a n d ria le was dropped a s in th e c a s e o f sp o n su s g iv in g s p o s o .

B u t, a s B ia d en e rem arked i n

h i s a u t h o r i t a t i v e s tu d y on t h e o r i g i n o f m a d r ig a le . th e p a r a l l e l (w hich he m is ta k e n ly a t t r i b u t e d to C o v a rru b ia s ) i s fa ls e T ® ^ ' A t r a i n e d p h i l o l o g i a n , B ia d en e q u ic k ly d is p o s e d o f th e d e r i v a t i o n o f m a d rig a l from m andra, show ing t h a t i t was p h o n o lo g ic a lly im p o s s ib le .

Da Tempo’ s m a n d ria le he e x p la in e d a s an exam ple o f

th e phenomenon o f ’p o p u la r e ty m o lo g y ', th u s e l im i n a tin g i t a s a .s o u rc e .

7

D u rin g th e p e r io d i n w hich da Tempo’ s th e o ry was m ost g e n e r a l l y b e l i e v e d , a num ber o f o th e r s o u r c e s were s u g g e s te d f o r th e te rm .

T hese s u g g e s tio n s w ere a p p a r e n tly made i n an a tte m p t to

e x p la in th e m a d rig a l a s a fo rm o f P r o v e n c a l o r S p an ish o r i g i n . I n 1 6 70, D a n ie l H u et l i s t e d among th e v e r s e form s u sed by th e tro u b a d o u rs th e m a r t e g a l l e s , from w hich he so u g h t t o d e r iv e th e word m a d r ig a l, th u s p l a c i n g th e m a d r i g a l 's o r i g i n in P ro v e n c e .

3

I t i s p o s s i b l e t h a t H uet knew and was i n f l u e n c e d by th e I t a l i a n c r i t i c D o n i, who had w r i t t e n t h a t th e m a d r ia ls were f i r s t c u l t i v a t e d

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i n P ro v e n c e , w ith o u t, bov/ever, s u p p o r tin g h i s s ta te m e n t o r s u g g e s tin g a P r o v e n c a l so u rce' f o r th e w ord.

9

'

The term m a r te g a lle

H uet may have found, i n a h i s t o r y o f th e P ro v e n c a l p o e ts b y t h a t u n r e l i a b l e h i s t o r i a n , J e a n de N o stred am e, who, a s f a r as I have b e e n a b le to d is c o v e r , i s th e o n ly e a r l i e r w r i t e r to have m en tio n ed an a n c i e n t P ro v e n c a l form o f t h a t name.

A lth o u g h H u e t's s u g g e s tio n 10. a p p e a le d to th e im a g in a tio n o f a few o th e r w r i t e r s , i t is e v i d e n t l y b a s e d m e re ly on a chan ce i d e n t i t y o f sound, and h as n o t b een s e r i o u s l y c o n s id e r e d by any modern p h i l o l o g i s t . A lth o u g h t h e r e i s no t r a c e o f a m a d rig a l i n S p a in b e f o r e th e form was im p o rte d from I t a l y i n th e 1 6 th c e n tu r y , a number o f a tte m p ts were made to d e r iv e th e te rm from v a r io u s S p a n ish fo rm s . De Laudun d 'A i g a l i e r s . r e f e r r i n g to R o n s a rd 's m a d rig a l, w ro te : D' a u t r e s d i s e n t q u ' i l a e s t e in v e n t e' au c h a s te a u de M ad ric lo r s q u e l e Roy a l l o i t a l a c h a s s e , d ’ ou e s t t i r e ' l e mot de M a d rig a l. 11. He i s r e f e r r i n g to t h e m a g n if ic e n t c h a te a u v/hich F r a n c is I had b u i l t i n 1529 n o t f a r from P a r i s and w hich was named "M adrid" i n memory o f th e K in g 's c a p t i v i t y i n t h a t c i t y .

I t i s i n t e r e s t i n g to n o te t h a t

t h i s F ren ch t h e o r i s t a p p a r e n tly knew n o th in g o f th e I t a l i a n m a d rig a l, % o r a t l e a s t o f i t s r e l a t i o n to th e F ren ch form . I n 1690, F u r e t i e r e , r e p e a t i n g t h i s t h e o r y , ex te n d e d i t somewhat.

The m a d rig a l would

have ta k e n i t s name from M adrid: p a r c e q u 'o n d i t q u ' i l s e s t o i e n t en vogue du tem ps cue F r a n c o is I e r e s t o i t p r i s o n n i e r d M adrid. 12.

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I n 1 6 7 6 , a n o th e r s u g g e s tio n was made by F e r r a r i ,

who,

w h ile know ing o f da Tempo, th o u g h t t h a t th e word m ig h t have come from th e S p a n is h m a d ru g a r, to g e t up e a r l y , th u s b e in g i n i t s o r i g i n a m orning song su ch a s th e a u b a d e , and i n c i d e n t a l l y o f S p an ish o r i g i n . However, t h i s th e o r y won l i t t l e

f a v o r , and h a r d ly j u s t i f i e s th e

t r o u b l e w hich S c h e le r to o k to r e j e c t i t on p h o n o lo g ic a l g ro u n d s. Apparently more plausible is the suggestion that the composition

to o k i t s name from th e town o f M a d rig a l i n S p a in .

Menage i s

p ro b a b ly th e f i r s t to h ave s u g g e s te d t h i s p o s s i b i l i t y . le a r n e d o f t h e to w n 's e x i s t e n c e from C o v a r r u b ia s .

He ■

However, th e

S p an ish d i c t i o n a r y d e s c r ib e s M a d rig a l m e re ly a s a " V i l l a fam oso p o r 16

e l buen v i n o " ,

* i n no way l i n k i n g i t w ith th e v e r s e form , and th e

S p a n ish t h e o r i s t C a rv a llo e x p r e s s e s s u r p r i s e a t th e i d e n t i t y o f th e two names.

1 7 .

Since we know .of no early madrigal in S p a in , this

i d e n t i t y o f sound m ust i n f a c t b e r e g a rd e d a s a c o in c id e n c e . A more s e r i o u s r i v a l c la im to th e th e o r y o f da Tempo was b ro u g h t fo rw a rd b y Bembo, w r i t i n g in 1525: e q u e s te u n iv e rs a lm e n te sono t u t t e M a d r ia li c h ia m a ti, o p e r c io che dap p rirn a co se m a t e r i a l i e g ro s s e s i c a n ta s s e r o i n q u e l l a m anera d i rim e s c io l ta e m a te ria ls a l t r e s i . . . 18. A p p a re n tly Bembo d id n o t g iv e to o much im p o rta n c e to t h i s o p in io n , since he also repeated da Tempo's derivation of the word from mandra.

R u s c e l l i 1 9 * r e p e a te d b o th t h e o r i e s , w ith o u t seem ing to f a v o r one more th a n t h e o t h e r .

Menage

d e f i n i t e l y p u t a s id e th e d e r i v a t i o n

from m a t e r i a l i s , and C a rd u c c i spoke o f i t a s :

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un g r i l l o p e d a n te s c o s a l t a t o in capo a l Bembo e n u l l 1a l t r o . 2 1 . More r e c e n t l y , h o w ev er, 3embo’ s s u g g e s tio n was cham pioned by Dr. Spitzer, who presented a convincing case for the semantic

d e v e lo p m e n t o f m a d rig a l from m a t e r i a l i s . 22 * P h o n o lo g ic -a lly , th e d e r i v a t i o n o f m a d ria le ( c u r r e n t form i n th e l a t t e r p a r t o f th e 1 4 th c e n tu ry ) from m a t e r i a l i s i s p o s s i b l e , t * r becom ing d * r a s i n p a d r e , m ad re, e t c . , b u t th e in t r o d u c t i o n o f th e

i n m a d ria le t o form m a d rig a le i s more d i f f i c u l t to a c c o u n t f o r .

Dr. Spitzer, while admitting the difficulty, explained it as similar

t o t h e d e r iv a .tio n o f ra g u n a r e from ra .d u n a re , p a g u ra from p a u r a .

p^

'

Biadene, however, had previously shown that the introduction of the

£ was h ig h ly im p ro b a b le .

24. *

I n a r e c e n t a r t i c l e , Mr. H a ll a p p e a rs

to h av e p ro v ed c o n c l u s i v e ly t h a t B ia d en e was r i g h t '. 2^*

So th e c a s e

f o r m a t e r i a l i s f a l l s b e c a u s e i t f a i l s to a c c o u n t f o r th e _g. The a tte m p t to d e r iv e m a d rig a l from m a t e r i a l i s m o reo v er supposed t h a t th e o r i g i n a l v e r n a c u l a r form was m a d r i a le , b u t t h i s t h e e a r l i e s t form to a p p e a r .

i s by no means

The same o b j e c t i o n h o ld s t r u e

fo r a la te

1 4 th c e n tu r y L a t in form m a t r i a l i a w hich L ittre '" and S c h e le r f i r s t s u g g e s te d a s a p o s s i b l e s o u r c e . ^ * p o p u la r form m a r i g a l i s , w ith th e £ .

Da Tempo, i n 1532 > gave a.s th e The L a tin form m a t r i c a l e ,

fo u n d i n B a r b e r in o ’ s g lo s s e s to h i s D ocum enti djA m ore, and w hich D r. S p i t z e r d is m is s e d a s " R u c k la tin i s i e r u n g ,,, seems on th e o th e r hand to b e a u t h e n t i c a t e d by th e p o p u la r m a r i g a li s o f d a Tempo.

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These f a c t s . b e a r

7.

o u t B iadene* s c o n te n tio n t h a t th e £ was n o t a l a t e r a d d i t i o n , b u t t h a t th e a c t u a l s u c c e s s io n o f form s was r a t h e r m a t r i c a l e , m a a r ig a l e , m a d r i a le ,

m a n d ria le (b y p o p u la r e ty m o lo g y ), th e _g b e in g

dro p p ed a s i n l e g a l e , l e a l e ; r e g a l e , r e a l e . 2 7 ' H aving e s t a b l i s h e d t h i s o r d e r o f s u c c e s s io n , B iad en e p ro p o se d a s etym on th e L a t in m a t r i c a i i s .

M r. H a ll s u p p o rte d B ia d en e* s c la im ,

show ing t h a t m a d rig a le co u ld e a s i l y b e d e r iv e d from t h i s fo rm , and i n f a c t t h a t m a t r i c a i i s was th e o n ly a c c e p ta b l e etymon-.-^®* A d i a l e c t a l form rn a d r e g a l,

'd o m e s tic , i n t i m a t e , d e a r ', f i r s t re c o rd e d by B iad en e

i n th e r e g io n around V en ice , b r id g e s th e p h o n o lo g ic a l gap and p r o v id e s a s a t i s f a c t o r y l i n k f o r th e se m a n tic d ev elo p m en t o f th e te rm .

The

d i a l e c t a l fo rm r e t a i n s enough o f th e L a t in m eaning " d a ll a m a tr ic e " to su p p o se a 1 4 th c e n tu ry m eaning o f 'm a t e r n a l* . I t i s n o t n e c e s s a r y to assum e w ith B iad en e t h a t th e carm en m a t r i c a i i s was th e 'p o p u la r so n g ' p a r e x c e lle n c e ( o f which n o t a t r a c e h a s come down t o u s ) .

Such a h y p o th e s is su p p o ses f u l l

a c c e p ta n c e o f d a Tem po's th e o r y o f r u s t i c o r i g i n .

R a th e r i t may

v e r y w e ll h a v e d e s ig n a te d a song i n th e m o th er to n g u e a s opposed to a L a t i n so n g .

I t would th e n b e p o s s i b le to a c c e p t, a t l e a s t

p r o v i s i o n a l l y , S ig n o r P i r r o t t a ' s h y p o th e s is t h a t th e term m a t r i a l e ( r a t h e r m a t r i c a l e ) s e rv e d to d i s t i n g u i s h (m u s ic a l) c o m p o sitio n s w r i t t e n f o r a v e r n a c u la r t e x t from th o s e f o r L a t in t e x t .

T h is

i n t e r p r e t a t i o n i s s u p p o rte d by h i s c o n c lu s io n s r e g a r d in g th e le a r n e d c h a r a c t e r o f 1 4 th c e n tu ry m a d rig a l m u sic , i t s r e l a t i o n s h i p to th e c o n d u c tu s and th e c lo s e c o n n e c tio n betw een t e x t and music i n th e

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m a d rig a L .1

I t w ould a l s o e x p la in da Tempo’ s s ta te m e n t t h a t th e w ords

o f th e m a d rig a l m ust b e common and e a s i l y u n d e rs to o d ( v u l g a r i b u s ) , ^ • f o r a song .m th e v u lg a r to n g u e would be f a r more commonly u n d e r­ s to o d th a n one w r i t t e n in L a t i n .

Da Tempo th u s a t t r i b u t e d a

p o p u la r o r i g i n to a form w hich p ro b a b ly owed i t s name to th e f a c t t h a t i t was w r i t t e n i n th e v e r n a c u la r .

2.

The O r ig in o f th e M a d rig a l Form

V a rio u s t h e o r i e s o f th e m a d r i g a l's o r i g i n have b een b a se d a t l e a s t p a r t l y on e a r l y r e f e r e n c e s o r a s tu d y o f th e form and c o n te n t o f th e f i r s t exam ples we h a v e .

T hese t h e o r i e s I s h a l l

now c o n s id e r . A t d i f f e r e n t tim e s d u r in g th e 1 7 th c e n tu r y , t h e o r i s t s b o th in i t a l y and i n F ra n c e s u g g e s te d t h a t th e m a d rig a l had o r i g i n a t e d i n P ro v e n c e .

Wg s h a l l s e e upon w hat m is a p p re h e n s io n s t h i s p e r s i s t a n t

b e l i e f has been b ased . The F re n c h arg u m en t f o r a P ro v e n c a l o r i g i n r e s t s n o t on any ex am p les o r fo rm s w hich h av e s u rv iv e d b u t p r o b a b ly , a s we have se e n , on a s ta te m e n t w hich J e a n de ^ o stre d a m e made i n 1575 r e g a r d in g A rn a u t D a n ie l.

H ere i s th e s ta te m e n t, w hich c o n c e rn s th e p o e t ic

fo rm s s u p p o s e d ly u se d b y th e tr o u b a d o u r:

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-• - a - f a i c t p l u s i e u r s co m ed ies, t r a g e d i e s , a u b a d e s, m a r t e g a l l e s e t un c h a n t q u ' i l a i n t i t u l e ' Las P h a n ta u m a ria s d e l Paganisms e t un b eau m o ra l q u ' i l a d d r e s s a a P h i l i p p e s ro y de P r a n c e . 31.

The s o u rc e o f N o stred am e, p resu m ab ly t h a t l o s t C h an so n n ie r de S a u lt w h ich , a c c o r d in g to th e r e c o n s t r u c t i o n o f C habaneau and A n g lad e, c o n ta in e d a V ie o f A rn au t D a n ie l,

c a n n o t b e ch ec k ed , b u t we

know t h a t N ostredam e was i n th e h a b i t o f 'd e v e l o p in g ' and ' i n t e r ­ p r e tin g ' h is so u rc e s.

He d o e s n o t i d e n t i f y th e m a r t e g a l le s o f A rn au t

D a n ie l w ith th e I t a l i a n m a d r ig a l, an d , d e s p i t e h i s te n d e n c y to g l o r i f y h i s n a t i v e l a n d , h a s n o t c la im e d P ro v e n c a l p r i o r i t y f o r th e I t a l i a n fo rm . B u t i f N ostredam e was n o t a tte m p tin g to p r o v e n c a liz e th e

J

I t a l i a n m a d r i g a le , w here d id he f i n d th e form m a r t e g a l l e ?

A cco rd in g

to M i s t r a l , th e m a r te g a lo , a d an ce (acco m p an ied b y m usic o r song?) o f th e i s l a n d o f M a r tig u e s , was e x e c u te d a t B r ig n o le s b e f o r e C h a rle s IX and h i s c o u r t a t th e tim e o f h i s t o u r o f th e kingdom i n 1564. a n o c c a s io n m ig h t have b r o u g h t th e m a rte g a lo

Such

i n t o momentary p ro m in en ce,

a t l e a s t i n P ro v e n c e , and one can w e ll im ag in e th e in e x a c t N ostredam e i n s e r t i n g i t i n a l i s t o f fo rm s u se d by th e a n c i e n t P ro v e n c a l p o e t . The r e f e r e n c e m ig h t have b e e n d ro p p ed had n o t La C ro ix du M aine q u o te d N o s tre d a m e 's s ta te m e n t c o n c e rn in g A rn a u t D a n ie l i n h i s B ib l io th e q u e f r a n c a i s e .

L a t e r , H uet a p p a r e n tly s e iz e d upon th e chance

re s e m b la n c e i n so u n d , d e v e lo p in g aro u n d i t ,

a s we have s e e n , h i s

s p u r io u s d e r i v a t i o n o f th e te rm m a d r ig a l, w h ich , w ith h i s a u t h o r i t y b e h in d i t , was g iv e n c o n s id e r a b le c re d e n c e .

H u e t's th e o ry was f u r t h e r

e x te n d e d by De l a Monnoye who, u n a b le to l o c a t e th e '^ a r te g a u x ,

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m o u n tain p e o p le o f -P ro v e n c e ', i d e n t i f i e d them a s i n h a b i t a n t s o f M a r tig u e s , w here he supposed th e form to have o r i g i n a t e d .

A sid e from th e s e i d e n t i f i ­

c a t i o n s , I have fo u n d no e v id e n c e to l i n k th e M a rte g a le ( i f in d e e d th e r e e v e r was a p o e t i c fo rm o f t h a t name) v-rith th e m a d r ig a l. E a r l i e r and o .u ite in d e p e n d e n tly , th e I t a l i a n D oni, a u th o r o f a t r e a t i s e on poetry, had- claimed a Provencal origin for the madrigal, speaking of

c e r t a i n poems w h ich : poco le g g ia d ra m e n te fu ro n o p rim e d a ' P r o v e n z a li c h ia r a a ti ^ a d r i a l s , p e rc h e in co se m a t e r i a l i c io e h u m ili e v i l i , cornunemente s 'u s a v a n o . 54.

The w ords 'c o s e m a te r ia li' s u g g e s t t h a t he was in f lu e n c e d by Bembo who f i r s t p ro p o sed th e etymon m a t e r i a l i s i n 1525 i n h i s t r e a t i s e D e lla V o lg a r L in g u a .

M oreover Bembo u se d th e form r a a d r i a l i , w hich Doni may

e a s i l y have deform ed i n t o m a d r i a l s . I n a s s e r t i n g t h a t th e e a r l y P ro v e n c a l p o e ts w ro te m a d r i a l s . Doni h as p r o b a b ly a p p lie d Bembo' s g e n e r a l th e o r y o f th e P ro v e n c a l o r i g i n o f I t a l i a n p o e t i c form s to th e p a r t i c u l a r c a se *7,5

o f th e m a d rig a l, fo rm and w ord.

C r e s c i m b e n i , ’ w h ile d i s c a r d i n g D o n i's

d e r i v a t i o n o f the-: te rm , echoed h i s o p in io n t h a t th e form had o r i g i n a t e d i n P ro v e n c e .

T h ere i s , how ever, n o th in g to p ro v e t h a t e i t h e r Doni o r

C re scim b en i had an y know ledge o f an e a r l y P ro v e n c a l m a d r ig a l.

T h e ir

te s tim o n y , a s w e ll a s th e w hole th e o r y o f P ro v e n c a l o r i g i n , a p p e a rs to be b a s e d on p u re h y p o th e s i s . U n t i l v e r y r e c e n t l y , th e m a d rig a l h a s b een c o n s id e r e d b y m ost o f th o s e c r i t i c s who h av e g iv e n any s e r i o u s a t t e n t i o n to th e s u b je c t a s an I t a l i a n form o f p o p u la r o r i g i n .

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U n lik e th e P r o v e n c a l c la im , th e th e o r y o f p o p u la r o r i g i n h a s some 1 4 th c e n tu r y e v id e n c e b e h in d i t .

I t i s b a s e d on th e te s tim o n y o f d a

Tempo, who th u s d e s c r ib e d th e e a r l y m a d rig a l: Nam p a s -to re s , tamquam r u s t i c ! e t hom ines g r o s s i prim o c o e p e ru n t a m o ris v e n e r e i c i r c a c o m p lla re v e rb a g r o s s a e t i p s a c a n ta r e e t in s u i s t i b i i s s o n a re modo g r o s s o sed tainen n a t u r a l i t e r . 56. C a rd u c c i, i n a c c e p tin g da Tem po's etymon m an d ra, a c c e p te d w ith i t h i s th e o r y o f t h e p o p u la r o r i g i n o f th e fo rm , and h i s e lo q u e n t and p e r s u a s iv e a r t i c l e gave added w e ig h t to da T em po's w o rd s.

S tr a n g e l y enough B ia d e n e ,

in r e f u t i n g th e tim e -h o n o re d o p in io n o f da i empo r e g a r d i n g th e o r i g i n o f th e w ord, d id n o t q u e s tio n h i s th e o r y o f p o p u la r o r i g i n f o r th e fo rm , and in d e e d q u o te d i t , how ever u n n e c e s s a r i l y , in s u p p o r t o f h i s own e ty m o lo g ic a l a rg u m e n ts . N e v e r th e le s s , d a Tem po's te s tim o n y i s n o t above s u s p i c io n . have seen how false was his derivation of madrigale from mandra.

We Since

h i s d e s c r i p t i o n o f th e e a r l y m a d rig a l im m e d ia te ly f o llo w s h i s e ty m o lo g ic a l argument, it is quite possible that da Tempo was merely making a case

57. for his own e.tymon.

Such an explanation for his theory of pastoral

o r i g i n i s t h e more p l a u s i b l e i n t h a t he h a s s i m i l a r l y d educed a p o p u la r o r i g i n f o r th e s i r v e n t ^ s ,^ ’ a p p a r e n t l y b a s in g h i s a rg u m e n t on th e name a lo n e .

I n th e c a s e o f th e m a d r ig a l, d a Tempo may f u r t h e r have b een

r e a s o n in g b ack w ard s from th e c o n v e n tio n a l r u s t i c n o te s i n th e m a d rig a l v e r s e he knew ( a s p i c t u r e d in th e exam ples he g a v e ) , a s c r i b i n g to i t a f o l k o r i g i n w hich m ig h t m ost s a t i s f a c t o r i l y e x p la in i t s p e c u l i a r c h a ra c te r.

59. '

I t becom es d o u b tf u l w h e th e r he a c t u a l l y knew o f th e

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existence of primitive madrigals.

Thus the evidence upon which later

t h e o r i s t s and p a r t i c u l a r l y C a rd u c c i b a s e d t h e i r arg u m e n ts f o r th e p o p u la r o r i g i n o f th e m a d rig a l m ust b e c o n s id e r e d a s h ig h ly s u s p e c t. The s u r v iv in g exam ples from th e 1 4 th c e n t u r y p r e s e n t no c o n c lu s iv e e v id e n c e o f p o p u la r o r i g i n .

The com plex p o ly p h o n ic s t y l e o f th e

m u s ic a l m a d rig a ls w hich have come down t o u s i s f a r removed from th e p rim itiv e .

Nor do s u r v iv in g l i t e r a r y m a d r ig a ls , from th e v e r y f i r s t

exam p les g iv e n by da Tempo, c o n ta in any m ark ed ly 'p o p u l a r ' t r a i t s . C a r d u c c i's a tte m p t to r e l a t e th e m a d r i g a l 's m e t r i c a l scheme to t h a t 40. o f th e s tra m b o tto i s n o t s u f f i c i e n t l y c o n v in c in g to b e a d m itte d a s p ro o f.

The c o n v e n tio n a l a l l u s i o n s to s tr e a m s , f lo w e r s and t r e e s

and th e p a s t o r a l r e f e r e n c e s w hich we f i n d i n c e r t a i n exam ples do n o t n e c e s s a r i l y p re s u p p o s e a p a s t o r a l o r i g i n .

In d e e d th e v e r y

a d v o c a te s o f th e th e o r y o f p o p u la r o r i g i n , from d a Tempo to C a rd u c c i, w ere f o r c e d to a d m it t h a t , by th e tim e o f da Tempo, th e supposed s h e p h e r d s ' songs h ad d e v e lo p e d i n t o a v e r y d i f f e r e n t ty p e o f 41. c o m p o s itio n . W hile th e com plex p o ly p h o n ic s t y l e o f th e e a r l i e s t s u r v iv in g m u s ic a l m a d r ig a ls , w hich b e a r some re se m b la n c e to th e o ld e r c o n d u c tu s . h a s l e d c e r t a i n m u s ic o lo g is ts to lo o k f o r th e o r i g i n o f th e form i n 42 e c c l e s i a s t i c a l c i r c l e s , th e p ro b lem h a s n o t b een s o lv e d . P o s s i b ly f u r t h e r l i g h t may b e b r o u g h t to b e a r on t h i s q u e s tio n b y th e e a r l i e s t r e f e r e n c e we hav e to th e m a d rig a l, i n th e g lo s s e s o f B a r b e r i n o 's D ocum enti d 'A m o re: v o lu n ta riu m e s t rudium in o rd in a tu m concinium u t m a tr ic a le e t s i m i l i a . 4 3 .

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The t r a n s l a t i o n o f t h i s s h o r t p a s s a g e p r e s e n t s so many d i f f i c u l t i e s t h a t no c o n c lu s io n s may b e drawn from i t a t th e p r e s e n t tim e r e g a r d i n g th e n a t u r e o f th e m a d rig a l h e m e n tio n ed o r i t s o r i g i n .

At p re s e n t

B a r b e r i n o 's t e x t may o n ly b e ta k e n to co n firm th e a n t i q u i t y o f th e m a d r ig a l.

H is g lo s s e s w ere p r o b a b ly conpLeted i n th e f i r s t q u a r t e r o f

th e 1 4 th c e n tu r y

45

’ o r v e ry s h o r tly th e r e a f t e r .

H is r e f e r e n c e t o th e

m a t r i c a l e i s fo u n d i n a n o te e n t i t l e d De I n v e n ie n d i e t R im andi M o d is, w here i t i s m en tio n ed among o t h e r form s c u r r e n t i n B a r b e r i n o 's tim e . r,

The m a t r i c a l e i s g iv e n a s an exam ple o f th e ty p e c a l l e d v o iu n ta r iu m . The v o iu n ta r iu m i t s e l f i s i n a gro u p o f e le v e n w hich " s u n t i n t e r a n t iq u o s e t novos i n u s u " , a s o pposed to a second gro u p o f t h r e e " q u i de novo e m erg u n t".

*

b e h in d i t i n B a r b e r i n o 's d a y .

So th e m a d rig a l a l r e a d y had a t r a d i t i o n ^n th e a b se n c e o f f u r t h e r e v id e n c e , th e

n a t u r e o f t h i s e a r l i e r m a d rig a l can o n ly b e i n f e r r e d from th e ex am p les w hich have s u r v iv e d .

A c lo s e e x a m in a tio n o f th e s e m a d rig a ls t o g e t h e r

w ith a c r i t i c a l s tu d y o f e a r l y r e f e r e n c e s m ust su p p lem en t th e e ty m o lo g ic a l s tu d y o f th e term m a d rig a l i f we a r e to l e a r n a n y th in g f u r t h e r o f th e o r i g i n o f th e fo rm .

Such a. s tu d y i s beyond th e sco p e

o f t h i s b r i e f a c c o u n t o f th e I t a l i a n m a d r ig a l.

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5. 'The Development of the Italian madrigal in the 14th Century

In th e p a s t , p o e t i c and m u s ic a l form s o f th e 1 4 th c e n tu r y m a d rig a l have g e n e r a l l y b een d is c u s s e d s e p a r a t e l y . ^ *

O nly r e c e n t l y

h a s an a tte m p t b een made to show th e r e l a t i o n o f m u s ic a l and p o e t i c A O

e le m e n ts in th e e a r l y d ev elo p m en t o f th e fo rm .

*

F u r t h e r a tte m p ts

a t c o o r d in a tio n m u st be made b e f o r e we can have a c o n s e c u tiv e p i c t u r e o f th e I t a l i a n m a d rig a l a t t h i s tim e .

A b r i e f o u t l i n e w i l l be s u f f i c i e n t ,

how ever, to show how c l o s e l y th e two e le m e n ts w ere a s s o c i a t e d i n th e m a d r i g a l's d e v e lo p m e n t. Da Tempo d e s c r ib e d th e p o e t i c m a d rig a l he knew a s a s u c c e s s io n o f e le v e n and s e v e n - s y l l a b l e l i n e s , a r r a n g e d i n a num ber o f m e t r i c a l l y i d e n t i c a l t i e r c e t s and o c c a s i o n a l l y fo llo w e d by a one o r tw o - lin e re fra in .

H is exam ples show t h a t an i n t e r l o c k i n g rim e-sch em e bound

a l l th e s e p a r t s t o g e t h e r , p r o v id in g u n i t y . t h i s u n it y o f p o e t i c s t r u c t u r e was l o s t ,

I n l a t e r m a d r ig a ls , how ever,

s in c e th e i n t e r l o c k i n g r im e -

4.9 , scheme found i n d a Tempo’ s ex am p les was g e n e r a lly d ro p p ed ' ’ and a

f i n a l rim in g c o u p l e t on an in d e p e n d e n t rim e becam e th e r u l e .

T h is

f i n a l c o u p le t a c t e d a s a c o n c lu d in g r e f r a i n , i n c o n t r a s t to th e main body o f th e m a d r i g a l. In da Tempo’ s ex am p les, th e i d e n t i c a l t i e r c e t s p e r m itte d th e r e p e t i t i o n o f a m u s ic a l p a t t e r n b a s e d on th e f i r s t t i e r c e t .

The

t y p i c a l m u s ic a l m a d rig a l o f th e 1 4 th c e n tu r y , h o w ev er, was b u i l t on a c o n t r a s t b etw ee n th e main p a r t o f th e c o m p o sitio n and th e c o n c lu d in g r e f r a i n , which was w r i t t e n i n a d i f f e r e n t m u s ic a l s t y l e .

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As P i r r o t t a h a s .s h o v m ,5 0 ' th e l a t e r ty p e o f p o e t i c m a d rig a l f e l l e a s i l y i n t o t h i s t y p i c a l m u s ic a l p a t t e r n , w hich we already" f i n d in o u r f i r s t exam ples o f th e m u s ic a l m a d rig a l. The form th u s ev o lv ed f o r th e m a d rig a l s e t i t a p a r t from o t h e r s i m i l a r p o e t ic c o m p o s itio n s .

A lth o u g h t h e r e i s some c o n fu s io n ,

e s p e c i a l l y l a t e r in th e 1 4 th c e n tu r y , b etw een m a d rig a l and f c a l l a t a , i t i s u s u a l l y p o s s i b le to d i s t i n g u i s h b etw een th e two b y t h e i r rim e -sc h e m e s .

The f i n a l r im in g c o u p le t o f th e b a l l a t a u su ally " r e p e a t s

an i n i t i a l rim e , w h ile th e m a d r ig a l’ s c o u p l e t i s g e n e r a lly in d e p e n d e n t, m ark in g th e e s s e n t i a l c o n t r a s t w hich we f i n d i n m u s ic a l s t r u c t u r e betw een th e m ain p a r t o f th e co m p o sitio n and th e r e f r a i n . A lth o u g h much 1 4 th c e n tu ry m a d rig a l v e r s e i s lo v e p o e tr y , w hich S a c c h e t t i reg ard ed , a s i n h e r e n t l y c o n n e c te d w ith m u sic, n o t a l l m a d rig a ls w ere lo v e poem s. rp

s c rib e d , 0

No p a r t i c u l a r s u b j e c t was p r e -

b u t a c e r t a i n tr e a tm e n t o f s u b j e c t was g e n e r a l.

Much

has been said of the narrative or descriptive tone of these texts, and of the pastoral notes

5?.

charm of early" madrigal verse.

which certainly provide much of the Generally, however, narrative and

description were used not for their own sake but to introduce or illustrate the personal feelings of the author.

Often the passage

from impersonal description to the expression of feeling takes place between the tiercets or between them and the final riming couplet, thus fitting into the metric and musical pattern, as in the following example by Franco Sacchetti:

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M a d ria le d i F ran co d e t t o

.....

Di poggio in poggio e di selva in forests Come falcon che da signor villano di man si leva e fugge di lontano,

L a s s o , men v o , ben c h 'i o non s i a d i s c i o l t o , d onne, p a r t i r v o le n d o da c o l u i che v i da f o r z a s o v ra i c o r a l t r u i . Ma quando p e l e g r in a e s s e r p iu cred e d a l u i m ia v i t a , oiri p r e s a s i v e d e . 5 4 . Such t r a n s f o r m a tio n s , p r e s e n t i n many 1 4 th c e n tu r y m a d rig a ls- from the time of da Tempo onward, show that contrast was an essential

e le m e n t o f th e tr e a tm e n t o f s u b j e c t a s w e ll a s o f m u s ic a l and p o e t i c s tru c tu re .

P e t r a r c h , who made g r e a t u se o f c o n t r a s t in th e v e r s e

o f h i s C a n z o n ie re , r e c o g n is e d and gave f u l l v a lu e to t h i s e le m e n t in h i s own f o u r m a d r ig a ls . B oth i n exam ples w hich h av e s u rv iv e d and in c e r t a i n c r i t i c a l r e f e r e n c e s , we f i n d i n d i c a t i o n s t h a t th e m u s ic a l m a d rig a l o f th e 1 4 th c e n tu r y was t y p i c a l l y a p o ly p h o n ic c o m p o sitio n , t h e r e f o r e a le a r n e d fo rm .

55. ’ ' and

The f a c t t h a t m ost o f th e a u t h o r s o f

m u s ic a l m a d rig a ls i n th e m a n u s c r ip ts d e s c r ib e d by C a rd u c c i were churchm en

56. * s e r v e s to c o n firm th e le a r n e d q u a l i t y o f th e m u sic .

I t s d i f f i c u l t y o f e x e c u tio n i s a t t e s t e d i n a C h ro n ic a o f th e C onvent 57 o f S t . C a th e r in e d a t in g from th e l a t t e r h a l f o f th e 1 4 th c e n t u r y . ’' We may a g r e e w ith P i r r o t t a t h a t such m a d rig a ls c o u ld o n ly have b een composed an d sung ( o r p la y e d ) by th e i n i t i a t e .

53

W hatever th e t e c h n i c a l d i f f i c u l t y o f t h i s m u sic , th e m a d rig a l en jo y ed c o n s id e r a b le p o p u l a r i t y d u r in g th e 14-th c e n tu r y .

The t e x t s

w ere w r i t t e n by some o f th e g r e a t e s t w r ite r 's o f th e d a y , among them P e tr a r c h , Boccaccio and S a c c h e t t i , w h ile th e m u s ic a l m a d rig a l was one

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17.

o f th e o rin o l'v :! forms nf th e I t a l i a n Are love. o f th e 14th c e n tu r y . At th e :

t i r e , r-o f

v' •- rl- c-

or

•• n

growing p op ular

de e-ire f e e o o e t ic • nd stn sic a l e x p r e s s io n , end Sc c c h e t i i d e p lo r e s th e r e s u lt a n t lo w erin g o f a r t i s t i c standards: a « « « •»* ? io n e i l mondo d i c h i v u cl f o r rime: Tc-1 com p iler non so che f a b o ll a te T osto v elen d o che sien o in t o n a t e , C osi d e l canto a w ie n : Sana5 eleu ri's.rte W ille W a rc h e tti v eg gie in ogni p a r t e .

53.

In a ooe~i ."?J to m usic by F r a n c e s c o L nndini we are t o ld th a t everyon e wished to com-cose m ad rigals: Ciascun vtiole narray musical note Comporre madrial*, c&cce, ball&te Tener.do ognun le sue autenticnte.

60,

The ■oa.-aa.ao i s - lam en t, out in th e mouth o f M usica, f o r th e good o ld days when, presum ably, th e m adrigal was composed o n ly by th o se who were com petent in th e a r t o f music,. P o s s ib ly i t was t h i s attem p t to adapt th e complex m adrigal form to oomslar use t h a t b rou gh t about i t s d o w n fa ll tow ards 'the end o f th e 14th c e n tu r y .

The te c h n ic a l d i f f i c u l t i e s in v o lv e d in

th e co m u o sitlcn c f m adrigalr end th e c lo s e dependence o f t e x t oi^ m u sical accompaniment ma.de th e form t o e d i f f i c u l t f o r wide u se.

C onsequently i t g r a d u a lly d isap p e a re d and v/ai* rep la ced in the

1 5th cen tu ry by th e sim p ler b a lla d and f r o t t - o la . 4 . The I t a l i a n fladrign.l dni-inr-' th e 16th and 17th. G en tu rlcs

When th e rord 'm a d r ig a l* reappeared in I t a l y in th e e a r ly 1 6 th cen tu ry , i t was a p p lie d to a form which d if f e r e d w id e ly from, t h a t o f th e 11th cen tu ry .

The r e v iv a l o f th e m ad rigal

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c o in c id e d w ith and may h av e b een p a r t l y cau sed b y th e wave o f P e tr a r c h is r a cham pioned by Bemboj y e t th e new m a d rig a l d id n o t fo llo w th e p a t t e r n s o f P e t r a r c h .

I t f i r s t a p p e a re d i n th e e a r l y

y e a r s o f th e 1 6 th c e n tu ry a s an e s s e n t i a l l y i r r e g u l a r form o f v e r s e w hich was to g iv e r i s e to a d i s t i n c t i v e s t y l e o f m u s ic . We s h a l l s e e t h a t a lth o u g h m u s ic a l and p o e t i c e le m e n ts b o th had t h e i r p a r t i n th e d evelopm ent o f t h i s new fo rm , t h e i r s t r u c t u r a l r e l a t i o n s h i p was n o t f i x e d , a s i n th e m a d rig a l o f th e 1 4 th c e n tu r y .

W hile th e h i s t o r y o f th e a c t u a l r e l a t i o n s h i p o f m u s ic a l

and p o e t i c fo rm s o f th e m a d rig a l d u r in g th e 1 6 th and 1 7 th c e n t u r i e s re m a in s to b e w r i t t e n , i t i s a p p a r e n t t h a t th e two g r a d u a lly te n d e d to s e p a r a t e and become s e l f - s u f f i c i e n t . T u rn in g f i r s t to th e m u s ic a l m a d r ig a l, we f i n d a v e ry d i f f e r e n t form from t h a t o f th e 1 4 th c e n tu r y .

The 1 4 th c e n tu r y

m u s ic a l m a d r ig a l, p r e s e r v e d o n ly i n r a r e m a n u s c r ip ts and t r a n s c r i b e d i n a n o t a t i o n w hich had become o b s o le t e by t h e .1 6 t h c e n tu r y , a p p e a rs t o have b e e n f o r g o t t e n .

The f i r s t o f th e new m u s ic a l c o m p o s itio n s ,

p u b lis h e d u n d e r th e t i t l e o f M a d r ig a li N ovi i n 1 5 5 3 , re se m b le d th e e a r l i e r form o n ly i n t h a t th e y w ere p o ly p h o n ic c o m p o sitio n s w ith 61. th e main l i n e o f m elody g iv e n to th e te n o r v o ic e . Such g e n e r a l re se m b la n c e s n eed n o t p re su p p o se d i r e c t in f l u e n c e o f th e e a r l i e r ty p e on t h a t o f th e 1 6 th c e n tu r y . The m u s ic a l s t y l e o f th e new m a d rig a l was l a r g e l y th e le a r n e d c r e a t i o n o f f o r e ig n m u s ic ia n s l i v i n g i n I t a l y .

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I t was th e r e s u l t o f a f u s io n betw een th e p o ly p h o n ic s t y l e w hich had b een d e v e lo p e d by com posers o f th e F lem ish s c h o o l and th e s im p le r a r t o f th e I t a l i a n f r o t t o l a .

An i l l u s t r a t i v e te n d e n c y , a l r e a d y p r e s e n t

i n th e f r o t t o l a o f th e 1 5 th c e n tu r y , was g r e a t l y d e v elo p ed i n th e 1 6 th c e n tu r y m a d r ig a l, i n w hich i t to o k th e form o f f r e e i l l u s t r a t i v e p a s s a g e s o r fm a d r ig a lis m e s f .

T hese p a s s a g e s , more o r l e s s w e ll a d a p te d to th e

m u s ic a l s t r u c t u r e , m o d ifie d th e r ig o r o u s d ev elo p m en t o f a p o ly p h o n ic schem e.

62

L a t e r th e d e l i c a t e b a la n c e betw een p o ly p h o n y and c h ro m a tic s

w hich c o n s t i t u t e s th e m a d rig a l s t y l e was b ro k e n by th e e v e r - i n c r e a s i n g u se o f such 'm a d r i g a l i s m e s ', and th e e a r l y poly p h o n ic, m a d rig a l was tra n s fo rm e d i n t o a m onodic fo rm , i n t o ’r e c i t a t i v e ' and ’a r i a ’ . The new m u s ic a l m a d rig a l was n o t a f i x e d fo rm , b u t g r a d u a l ly a d a p te d i t s e l f to th e p o e t ic t e x t which it- acco m p an ied .

In e a rly

1 6 th c e n tu r y m a d rig a ls th e m u s ic a l form was d e te rm in e d b y th e r e l a t i o n o f rim e-sc h em e, le n g th o f p o e t i c l i n e and r e l a t i v e p o s i t i o n o f l i n e s . The m usic a d a p te d i t s e l f n o t o n ly to th e o u t e r form o f th e t e x t b u t g r a d u a l ly m arked th e i n t e r n a l a c c e n ts and rhythm o f th e l i n e s them g r» s e lv e s . F i n a l l y , i t em p h asized i n d i v i d u a l w o rd s, s in c e th e im p o r ta n t word would o f n e c e s s i t y b,e a c c e n te d o r c o in c id e w ith th e rim e .

I n th e l a t e r m a d rig a l we no lo n g e r f i n d a p u r e ly fo r m a l r e l a t i o n

b etw een t e x t and m u sic . Through th e d ev elo p m en t o f c h ro m a tic s and 'm a d r i g a l i s m e s ', th e m usic te n d e d more and more to i l l u s t r a t e and m o d if 3r th e c o n te n t o f th e

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p o e t ic t e x t .

M a d rig a l m usic c o u ld i m i t a t e r e a l i s t i c a l l y , s im u la tin g

th e wind o r th e h u n t, o r i t c o u ld u n d e r lin e th e e m o tio n a l c o lo r o f c e r t a i n w o rd s.

I t i s im p o s s ib le a t p r e s e n t to m e asu re th e i n ­

f lu e n c e e x e r te d by m usic on th e l i t e r a r y m a d r ig a l’ s d ev elo p m en t. We may o b s e r v e , how ever, t h a t th e m u s ic a l accom panim ent fa v o re d th e u se o f s h o r t d e s c r i p t i v e p assa.g es and em phasized e x p r e s s io n s o r i n d i v i d u a l w ords w ith an e m o tio n a l o r se n su o u s c o n t e n t. D uring th e e a r l y 1 6 th c e n tu r y , th e m u s ic a l m a d rig a l depended l a r g e l y on th e new i r r e g u l a r ty p e o f m a d rig a l v e r s e f o r i t s fo rm . Composers o f m a d rig a ls c o n tin u e d to s e t f r e e v e r s e fo rm s to m usic d u r in g th e 1 6 th c e n tu r y and p o e ts w ro te such v e r s e e x p r e s s ly f o r them . B u t, once e s t a b l i s h e d , th e m u s ic a l s t y l e was f r e e enough to b e a p p l ie d to o t h e r ty p e s o f p o e t r y .

Of 195 m u s ic a l m a d r ig a ls p u b lis h e d b etw een

155? and 1 5 57, 144 were a d a p te d to f r e e p o e t ic fo rm s ; th e o th e r s w ere a d a p te d to b a l l a d s , s o n n e ts and o t h e r w e ll - d e f in e d ty p e s o f v e r s e .

6 5.

The m u s ic a l m a d rig a l te n d e d more and more to become s e l f - s u f f i c i e n t , no l o n g e r d ep en d in g f o r i t s form on an y one ty p e o f p o e t r y . V o g e l's an a E i t n e r 's b i b l i o g r a p h i e s o f -Lt a i i a n m u s ic a l p u b l i c a t i o n s d u r in g th e 1 6 th and 1 7 th c e n t u r i e s

show t h a t m a d rig a ls

w ere p u b lis h e d i n g r e a t num bers from th e tim e o f t h e i r r e v i v a l th ro u g h th e 1 6 th c e n tu r y .

The l a s t im p o r ta n t I t a l i a n com poser o f t h i s m usic a p p e a rs

to hav e b een M o n te v e rd i, i n vdiose c o m p o s itio n s one can se e th e t r a n s ­ f o rm a tio n o f th e p o ly p h o n ic s t y l e i n t o accom panied m onodic so n g .

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

H is

21.

H is e ig h th book o f m a d rig a ls ,, p u b lis h e d i n V en ice i n 1 6 3 8 , i s o n ly p a r t l y p o ly o h o n ic , and i l l u s t r a t e s th e b reak in g -d o w n o f th e I t a l i a n 67. m u s ic a l m a d rig a l i n th e e a r l y 1 7 th c e n tu r y i n t o monodic fo rm s . The new p o e t i c m a d rig a l w hich was to g iv e r i s e to 1 6 th c e n tu r y m a d rig a l m usic was f i r s t d e f in e d i n 1525 b y Bembo a s fo llo w s : L ib e r e p o i sono q u e l le a l t r e (rim e ) che non hanno a lc u n e le g g e o n e l numero d e f v e r s i o n e l l a m a n ie ra d e l r i m a r g l i ; ma c ia s c u n o , siccom e ad esso p i a c e , c o s i l e form a (e q u e s te u n iv e rs a lm e n te sono t u t t e m a d r i a l i c h ia m a te ) . 68. The r e l a t i o n o f t h i s new f r e e form o f v e r s e t o th e 1 4 th c e n tu r y m a d rig a l h a s b een th e s u b j e c t o f much c o n j e c t u r e .

I t h as been

s u g g e s te d t h a t th e term m a d rig a l had g r a d u a l ly come to s i g n i f y 69. m e re ly ' a s h o r t poem d e s t i n e d to b e s e t to m u s ic ’ . The a n a lo g y w hich we have r e f e r r e d to b etw een m a d rig a l and b a l l a d v e r s e was d is c u s s e d a t some le n g th b y th e m u s ic o lo g is t, C e s a r i , who p o in te d o u t f u r t h e r re s e m b la n c e s b etw ee n th e 1 4 th c e n tu r y m a d rig a l a n d c e r t a i n 1 5 th c e n tu r y s ta n z a s o f c a n z o n i and o t h e r 70. p o e t i c fo rm s . I f a l l o f th e s e ty p e s o f v e r s e g r a d u a lly came to b e known a s m a d rig a ls , one may w e ll u n d e r s ta n d Bembo’ s d e f i n i t i o n o f th e m a d rig a l a s a form o f v e r s e o b ey in g no f i x e d r u l e s . However, i t sh o u ld f u r t h e r be p o in te d o u t t h a t Bembo1s c o n c e p tio n o f i t was o n ly made p o s s i b l e by th e d is a p p e a r a n c e o f t h a t m u sic w hich had d e te rm in e d th e c h a r a c t e r i s t i c form o f th e 1 4 th c e n tu r y m a d r ig a l. The u n c e r t a i n t y r e g a r d in g th e m a d r i g a l 's p o e t ic form a lr e a d y e v id e n t i n Bembo*s re m a rk s was a c c e n tu a te d i n th e works o f l a t e r

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th e o ris ts .

The f a c t t h a t m a d rig a l com posers ch o se many d i f f e r e n t

k in d s o f v e r s e to s e t to m usic co u ld o n ly add to th e d i f f i c u l t y . In h i s P o e-tica o f 1529, T r i s s i n o r e f e r r e d e x c l u s i v e ly to th e 1 4 th c e n tu r y fo rm , f o llo w in g da Tempo c l o s e l y and g iv in g ex am p les o n ly from th e 1 4 th c e n tu r y . 7J" an exam ple o f B e m b o 's.7^ '

D o lc e , some tw en ty y e a r s l a t e r , a d m itte d P ig n a f i r s t com pared th e m a d rig a l to th e

r j \2

G reek o r L a tin e p ig ra m ,

^

and M in tu rn o d e v e lo p e d th e p a r a l l e l ,

a tte m p tin g to s e p a r a t e th e tw o .7 '" R u s c e l li f i r s t e x p r e s s e d a d e f i n i t e p r e f e r e n c e f o r th e f r e e fo rm , u r g in g th e p o e t to f o llo w Bembo r a t h e r th a n P e t r a r c h . 7 5 '

B ut i t was n o t u n t i l to w a rd s th e

end o f th e c e n tu r y t h a t M a s sin i a tte m p te d to f o r m u la te a th e o r y o f th e new m a d rig a l, c o n c lu d in g t h a t i t was n o th in g b u t a s i n g l e s ta n z a o f a c a n z o n e , and e n t i r e l y f r e e i n form and c o n t e n t.

76.

S in c e no f ix e d form was p r e s c r ib e d by th e m u s ic a l acco m p an im ent, th e p o e t ic m a d rig a l o f th e 1 6 th c e n tu r y d e v e lo p e d s u f f i c i e n t d i v e r s i t y to j u s t i f y th e c o n fu s io n o f th e t h e o r i s t s .

L ik e th e

t r a d i t i o n a l form o f th e 1 4 th c e n t u r y , i t was s t i l l composed v e ry l a r g e l y o f seven and e l e v e n - r s y lla b le l i n e s , u s u a l l y a r r a n g e d i n v a r io u s c o m b in a tio n s o f t i e r c e t s and c o u p l e ts , and v e r y o f te n ended i n a rim in g c o u p l e t.

B u t t h e r e were no f i x e d r u l e s f o r th e

c o m b in a tio n o f t h e s e t r a d i t i o n a l e le m e n ts .

A lth o u g h th e m a d rig a l was

g e n e r a l l y s h o r t , such v a r i a t i o n s a s th e ’M a d r ig a lo n i 1 end • M a d r i g a le s s e ', in v e n te d by IL L a sc a and a p p r o p r i a t e l y u se d f o r b u r le s q u e o r s a t i r e , c o u ld b e e x te n d e d i n d e f i n i t e l y .

M a d rig a ls

w ere a l s o w r i t t e n i n th e form o f d ia lo g u e s , and th e f r e e form 'in ­ v ad ed o th e r ty p e s o f v e r s e , su ch a s th e p a s t o r a l poem.

Much o f

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

T a s s o ' s Aminta and o f G u a r i n i ’ s P a s t o r P i d o , i n p a r t i c u l a r t h e c h o r u s e s , i s composed o f such f r e e v e r s e . As i n t h e m a d rig a l o f tile 1 4 th c e n t u r y , t h e r e was no r e s t r i c t i o n re g a rd in g su b ject m a tte r.

A lth o u g h a g r e a t p a r t o f t h i s v e r s e ,

p r o b a b l y due t o t h e i n f l u e n c e o f P e t r a r c h , was l o v e p o e t r y , a l l s u b j e c t s were a d m i t t e d . p h ilo so p h ic a l

77

T here ?/ere p a s t o r a l , e n c o m i a s t i c , p o l i t i c a l ,

an d even r e l i g i o u s m a d r i g a l s .

The ele m e n t o f c o n t r a s t w hich we have n o te d i n t h e m a d r i g a l o f t h e 1 4 t h c e n t u r y v^as g r e a t l y d e v e lo p e d i n t h e 1 6 th c e n t u r y form .

Here

t h e c o n t r a s t i n g members no l o n g e r f i t t e d i n t o a m u s i c a l p a t t e r n , b u t c o n t r a s t 7/as o f t e n marked b etw een t h e main body o f t h e poem and a final riming couplet.

Since the epigram, newly introduced into

I t a l y a s a v e r n a c u l a r fo rm , was c o n s t r u c t e d on much t h e same p r i n c i p l e , i t i s n o t s t r a n g e t h a t t h e r e should, h av e b e e n some c o n f u s i o n betw een t h e two ty p e s o f v e r s e .

79. ’

Numerous m a d r i g a ls w ere i n s p i r e d by

them es ta k e n from t h e -anthology .

30. *

e x i s t w ith t h e ep ig ra m o f P a r t i a l .

P o s s i b l y many more p a r a l l e l s

By i t s c o n n e c tio n w ith th e ep ig ra m ,

t h e m a d r i g a l had g a in e d a new f i e l d o f i n s p i r a t i o n and b ro a d e n e d i t s p o s s i b i l i t i e s fo r s u b je c t m a tte r. C o n t r a s t was a l s o an e s s e n t i a l e le m e n t o f P e t r a r c h ' s a r t , and i t was th r o u g h t h i s e le m e n t t h a t c e r t a i n o t h e r t r a i t s o f P e t r a r c h i s m e n te re d in to th e m a d rig al.

With t h e grow ing im p o r ta n c e o f t h e i n d i v i d u a l

w ord, em phasized by ' m a d r i g a l i s m e s ', c o n t r a s t o f t e n became lo d g e d i n a s i n g l e word and t h u s became a p u n , a s i n P e t r a r c h ' s p l a y s on t h e name

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

of L aura.

Very p o s s i b l y it. was P e t r a r c h ’ s C a n z o n i e r e , d e v o te d

e n t i r e l y t o Laura., w hich i n s p i r e d p o e t s o f t h e 1 6 th c e n t u r y t o w r i t e g ro u p s o f m a d r i g a l s bound t o g e t h e r by a s i n g l e w ord, such a s S t r o z z i ’ s gro u p s on F a c e ,

Aure ^ * & n d Luce.® ? *

I t was o n ly

a s t e p from h e r e t o t h e C o ro ne, c o n s i s t i n g o f tw e lv e m a d r i g a l s , each QA

b e g i n n i n g w ith t h e l a s t l i n e o f t h e p r e c e d i n g poem, t h e G h irla .n n a , r e m i n i s c e n t o f th e F l o r i l e g i u m

' and to

o f e p ig ra m s

RR

and made famous by C-uazzo's G h ir la n d a d e l l a C o n te s s a A ngela B ia n c a B e c c a r i a , p u b li s h e d i n Genoa i n 1595. The e le m e n t o f c o n t r a s t i n t h e m a d r i g a l l e n t i t s e l f t o th e e x a g g e r a t e d e x p r e s s i o n which was an e s s e n t i a l p a r t o f I t a l i a n S eic en tism o .

Many m a d r i g a l s were l a r g e l y composed o f im ages,

d e s c r i p t i o n s , commonplaces o r pu n s, v a r i o u s l y combined o r c o n t r a s t e d w ith each o t h e r .

The f o l l o w i n g example by M arino shows how f a r t h e

p l a y on words c o u ld b e c a r r i e d : 0 chiome e r r a n t i , o chiome , d o ra te , in n a n e lla te , oh come b e l l e , o come e v o la te e sch erzate!' Ben v o i sch e rz a n d o e r r a t e , e son u o l c i g l i e r r o r i ; ma non e r r a t e i n a l l a c c i a n d o i c o r i .

86.

M a r in o ’ s example may be h e l d r e s p o n s i b l e f o r much o f t h e t o r t u r e d e x p r e s s i o n foun d i n l a t e r m a d rig a l v e r s e .

However, h i s m a d r i g a ls

were n o t composed e n t i r e l y o f t h a t a r t i f i c e o r ’ i n g e g n o s i t a ' a rt

which Croce c a l l e d t h e n e g a t i o n o f a r t ,

*

In I t a l i a n v erse of

i t h e 1 7 th c e n t u r y , and p a r t i c u l a r l y i n t h a t o f M arin o, ^ r o c e n o te d a seco nd te n d e n c y whicn he term ed ' s e n s u a l e 1 and i n w h ic h , he b e l i e v e d ,

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

88.

la y th e a r t i s t i c v i t a l i t y o f t h a t v e rs e .

T h i s 1s e n s u a l i t a ’ ,

a l r e a d y p r e s e n t i n some e a r l i e r m a d r i g a ls and p o s s i b l y bo rro w ed from th e e p ig ra m , was g r e a t l y d e v e lo p e d by M arino i n such poems a s t h e M a d r i g a l i d e i B a c i , i n w hich he combined i t w ith th e i n t e l l e c t u a l p la y o f ' c o n c e t t i ’ .

Such an i n g e n i o u s e x p r e s s i o n

o f a ' s e n s u a l ’ c o n c e p t was e x a c t l y t h e fo r m u la o f what came t o 89. b e known a s Marinismo o r S e i c e n t i s m o . D uring much o f t h e 1 6 th c e n t u r y , r e l a t i v e l y few m a d r i g a l t e x t s appeared in l i t e r a r y p u b l i c a t i o n s .

The s o n n e t , f a v o r i t e

form o f P e t r a r c h i s t e x p r e s s i o n , f i g u r e d much more p r o m i n e n tl y i n l i t e r a r y c o l l e c t i o n s and a n t h o l o g i e s th a n t h e P e t r a r c h i s t m a d rig al.

E a r l y m a d rig a l v e r s e was c h i e f l y d i s t i n g u i s h e d by

t h e m u s ic a l accompaniment t o w hich i t gave b i r t h , and much o f i t 90 . e i t h e r c i r c u la t e d in m anuscript o r was p u b l i s h e d w ith t h e m u sic f o r which i t s e rv e d a s t e x t . G r a d u a ll y d u r i n g t h e 1 6 th c e n t u r y th e m a d r i g a l won f a v o r a s a form o f p o e t i c e x p r e s s i o n .

S in c e no f i x e d form was p r e s c r i b e d ,

w ould-be p o e t s and a m a te u r s were tem pted t o w r i t e m a d r i g a l s , and b y so d o in g i n c i d e n t a l l y c o n t r i b u t e d t o th e s u p e r f i c i a l i t y o f t h i s verse.

The m a d rig a l became a f a v o r i t e form o f numerous l i t e r a r y

acad em ies a s w e l l a s a f a v o r i t e mode o f e x p r e s s i o n i n a l l s o c i e t i e s . Towards th e end o f t h e c e n t u r y , m a d r i g a ls b eg an t o a p p e a r i n g r e a t e r numbers i n a n t h o l o g i e s o f v e r s e , and c o l l e c t i o n s c o n s i s t i n g e x c l u s i v e l y o f m a d r i g a l s were p u b l i s h e d .

By t h e b e g i n n i n g o f t h e

1 7 th c e n t u r y , m a d r ig a l l i t e r a t u r e had r e a c h e d enormous p r o p o r t i o n s , a c e r t a i n A n n ib a le Guasco p u b l i s h i n g a s many 3110 m a d r i g a l s i n a

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

sin g le v o l u m e . O f

numerous c o l l e c t i o n s , t h e m ost famous was p r o b a b ly

t h e C-areggiainento P o e t i c o d e l Confuso Accademico O r d i t o , p u b li s h e d i n V en ice i n 1611.

The a p p e a ra n c e o f m a d r i g a l s i n g r e a t numbers i n l i t e r a r y

p u b l i c a t i o n s seems t o show t h a t t h e p o e t i c form had g a in e d a c e r t a i n d e g r e e o f in d e p e n d e n c e from t h e m u s ic a l m a d r i g a l , w hich was b e g i n n in g t o d e c l i n e d u r in g t h i s p e r i o d . The g r e a t s u c c e s s o f th e l i t e r a r y m a d rig a l i n t h e 1 6 th c e n t u r y c o i n c i d e s w ith t h e b e g in n in g s o f S e ic e n tis m o i n I t a l y .

S in ce th e

m a d r i g a l was so w e l l s u i t e d to t h i s ty p e o f e x p r e s s i o n , t h e r e i s l i t t l e wonder t h a t i t became a f a v o r i t e l i t e r a r y form a.t t h e tim e when S e ic e n tis m o was i n v a d in g ev e ry ty p e o f p o e t r y .

A c c o rd in g t o t h e

s t a n d a r d s o f t h e t i m e , t h i s composition was i n no way t o be d e s p i s e d . S in c e i t a d m ira b ly r e p r e s e n t e d a m a jo r I t a l i a n l i t e r a r y movement, t h e new p o e t i c m a d r i g a l was armed w ith t h e p r e s t i g e n e c e s s a r y f o r i t s e x t e n s i o n beyond t h e b o r d e r s o f I t a l y .

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

(

Chapter II

The French Madrigal in the 16th Century

The m a d r i g a l f i r s t e n t e r e d F ra n c e from I t a l y i n t h e 1 6 th c en tu ry .

The e a r l i e s t r e c o r d e d examole o f th e word i n F ran ce 1. d a t e s from 1542, and i t a p p e a r s th e n i n th e I t a l i a n fo rm . F re n c h r e f e r e n c e s to t h e m a d r ig a l d u r in g t h e 1 6 th c e n t u r y and exam ples o f F ren ch m a d r i g a ls w r i t t e n d u r i n g t h a t p e r i o d g i v e e v id e n c e o f such d i v e r s e c o n c e p tio n s o f t h i s ty p e o f c o m p o s itio n t h a t no e x a c t d e f i n i t i o n o f th e te rm a s u s e d i n F r a n c e a t t h a t tim e i s p o s s i b l e .

A lthough t r a c e s o f I t a l i a n

i n f l u e n c e may b e foun d in F ren ch m a d r i g a ls o f t h i s p e r i o d , we a r e a l s o c o n f r o n te d w ith e v id e n c e o f marked r e s i s t a n c e t o th e exam ple o f I t a l y , n o ta b ly i n c o n n e c tio n w ith t h e m u s ic a l form .

1.

E v id en ce r e g a r d i n g th e E x i s t e n c e o f a M u s ic a l M ad rig al

in France

T u rn in g f i r s t to t h e q u e s t i o n o f m u sic , we s h a l l examine a i l a v a i l a b l e ev id e n c e c o n c e r n in g th e e x i s t e n c e o f a m u s ic a l m a d rig a l i n F r a n c e . t o such a form .

We f i n d a number o f e a r l y F ren ch r e f e r e n c e s

The f i r s t o c c u r s i n th e f o l l o w i n g p a s s a g e from

t h e Lyon M arch an t o f B a rth e le m y Aneau.

I t is

'A r i o n , j o u e u r de

Luz ou L y r e 1 who i s sp e a k in g : p a s s a y l a mer; e t v i n s en I t a l i e Du p a r mon a r t ( q u i t o u t e j o i e a l l i e ) S onnnnt s o n n e ts , B & r z e l e t t e s e t B a l l e s , C hasons, S t r s b o t s , P a v a n e s , M a d r ig a le s J 1a c q u i s en b r i e f la. g r a c e de l a g e n t B e a u is o rn em e n ts, b a g u e s , o r , e t a r g e n t .

2.

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

T h i s i s t h e e a r l i e s t known F ren ch r e f e r e n c e t o th e m a d r i g a l, and i t i s h e r e u n m ista k a b ly c o n s i d e r e d a s a m u s ic a l form . O th e r r e f e r e n c e s to i t s c o n n e c tio n w ith m usic f o llo w e d .

Loui

Labe included, t h e m a d r i g a l i n a l i s t o f c o m p o s itio n s i n v e n te d u n d e r t h e j o i n t a c t i o n o f lo v e and m usic: D ir a y j s que l a Musique n ' a e s t e ^ i n v e n t / que p a r Amour? e t e s t l e c h a n t e t harm onie 1*e f f e c t e t s ig n e de 1*Amour p a r f a i t . Les hommes en u s e n t ou p o u r donn er p l a i s i r : p o u r l e q u e l d i v e r s i f i e r to u s l e s jo u rs i l s in v e n te n t no uveaus e t d i v e r s in s tr u m e n s de L u t s , L y r e s , C i t r e s , D o u cin s, V io lo n s , E s p i n e t t e s , F l u t e s , C o rn e ts : c h a n t a n t t o u s l e s j o u r s d i v e r s e s c h an so n s: e t v i e n d r o n t a i n v e n t e r m a d r i g a l l e s , so n n ets, pavanes, o assem esses, g a i l l a r d e s , e t t o u t en commemoracion d*Amour; comme c e l u i p o u r l e q u e l l e s hommes f o n t p l u s que p o u r n u l au tre . 3. A n o t e by Remy B e l l e a u , f i r s t found i n th e 1587 e d i t i o n o f R o n s a r d 's w o rk s, d e s c r i b e s th e m a d r i g a l i n m u s ic a l te rm s: Ce s o n t c h a n s o n s , s a n s c o n t r a i n t e de l i g n e s o r d o n n e e s , que c h a n t e n t l e s p a s t e u r s a p l a i s i r .

4

Here the: com m entator a p p e a r s t o have i n mind A ntonio da Tempo’ s t h e o r y o f p a s t o r a l o r i g i n , b u t he i s d e s c r i b i n g th e f r e e m a d r i g a l form o f t h e 1 6 t h c e n t u r y . Such r e f e r e n c e s a s t h e s e , how ever, o r i g i n a t i n g i n Lyon, u s i n g th e I t a l i a n form o f th e word o r c i t i n g I t a l i a n s o u r c e s , may w e l l have been made vrith t h e I t a l i a n m a d rig a l i n mind. They show no a c t u a l a c q u a i n t a n c e w ith m a d r i g a l m u sic , n o r do t h e y p ro v e t h a t t h i s m usic had become a c c l i m a t e d i n F r a n c e . F u r th e r m o r e , a t th e end o f th e c e n t u r y t h e d i c t i o n a r y o f Odet 5. ( o r P i e r r e ) de l a None l i s t e d t h e m u s ic a l m a d rig a l o n ly a s 6. an I t a l i a n form .

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29.

N e v e r t h e l e s s , t h e r e must have been a c e r t a i n F re n c h p u b l i c i n t e r e s t e d i n th e form , f o r t h e f o ll o w i n g c o l l e c t i o n s o f I t a l i a n m u s ic a l m a d r i g a ls were p u b li s h e d i n F r a n c e : .1577 - V e c o li , R ego lo, Canto / I I Primo l i b r o d i M & drigaii a cin q u e V oci, Di Regolo V e c o li , m usico d e l l a i l l u s t r i s s i m a S i g n o r i a d i L ucca. A c in q u e v o c i i n Lione A pp resso Clemente B a u d in . 1530 - C a s t r o , G io v an n i d i , Second L i v r e d es Chansons, M ad rig alz e t M otetz a 3 p a r t i e s , P a r i s , A. Ls Roy e t R. B a l l a r d . 1586 - Canto Di Regolo V e c o li da L u cc a. I I Secondo L ib ro de M a d r ig a l i a c in q u e v o c i nuovam ente com posti e t d a t i i n Luce i n P a r i g i , P or A driano Le Roy e t R o b erto B a l l a r d . 7. P r o b a b ly t h e s e do n o t e x h a u s t t h e l i s t . C e r t a i n Frenchmen who vrere p a r t i c u l a r l y c l o s e to ■ Italy even composed m a d r i g a ls i n th e I t a l i a n m anner. Em ile P i c o t l i s t s t h e f o ll o w i n g exam ples o f m a d r i g a l s w r i t t e n by F re n c h com posers and p u b l i s h e d i n I t a l y : Simon B o i l e a u , M a d r i g a l i a 4 v o c i , V e n e z ia , 1546 ( d e d i c a t e d to M a r g u e r it e de F r a n c e ,' Duchesse de S a v o i e ) . G u lie lm u s T e x t o r o r G ulielmo T e s t o r i , M a d r i g a l i a c in o u e v o c i . L ib ro prim o , V e n e t i a , 1 56 6. 8. Such exam ples a r e s u f f i c i e n t e v id e n c e t h a t t h e m u s i c a l m a d r i g a l was known and o c c a s i o n a l l y composed i n a - few F re n c h c i r c l e s , more p a r t i c u l a r l y i n t h e e n t o u r a g e o f M a r g u e r it e de F r a n c e , Duchesse de S a v o ie .

These c i r c l e s

were so l a r g e l y I t a l i a n , how ever, t h a t one can h a r d l y say t h a t th e form had b e e n a d o p te d i n F r a n c e . T here i s some e v id e n c e t h a t c e r t a i n more t y p i c a l l y F re n c h composers knew o f th e m u s ic a l m a d rig a l and were i n f l u e n c e d by i t .

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r/i. Van den B o rre n h a s n o t i c e d t r a i t s o f th e m a d r i g a l s t y l e i n t h e I/ieslang es o f Claude l e J e u n e , p u b l i s h e d i n 1535.^*

A c c o rd in g t o him,

t h e r e i s a l s o m a d r i g a l i n f l u e n c e i n t h e harmony o f t h e f i r s t and second L i v r e s d e s Amours de P i e r r e de R on sara (1576 and 1573) and i n t h e T r o is ie m e L i v r e d e s Chansons (1573) o f A n th o in e de B e r t r a n d de 10. F o n ta n g e s . foore d i r e c t i n f l u e n c e i s a p p a r e n t m ^ e r m i s y ’ s b o r r o w in g t h e e n t i r e c a n t u s o f a m a d r i g a l i n t h r e e p a r t s by C o n s t a n t i n e F e sta ,

'A 'ltro non e i l mio a m o r '.

To t h i s he composed t h r e e new

p a r t s , i n c l u d i n g t h e c o m p o sitio n i n h i s V in ^ t e t h p y t c h a s o n s m u s i c a l l e s a q u a t r e - p a r t i e s , p r i n t e d by P i e r r e A t t a i g n a n t i n 1534.

C esari

i n d i c a t e s t h a t such a p r o c e d u r e was by no means uncommon.'"^"

Dominique

P h i n o t in c l u d e d among h i s Chansons, L i v r e d e u x , w hich a p p e a r e d i n

Ip

Lyon i n 1548, a t r a n s l a t i o n o f Bembo 1,5 ’Quand’ i o p en so a l m a r t i r e 1 w hich h a s t h e form o f a l i t e r a r y chanso n o r s t a n c e s b u t was o f t e n s e t to m usic by I t a l i a n m a d r i g a l co m p o sers.

15. '*

The r e l a t i o n o f

t h e F r e n c h chanson o f th e 1 6 th c e n t u r y to t h e I t a l i a n m a d r i g a l re m a in s t o be s t u d i e d , and i t may be found t h a t t h e c h a n s o n ’ s i n d e b t e d n e s s t o t h e m a d r ig a l was g r e a t e r th a n h a s b een g e n e r a l l y su p p o se d . I n s p i t e o f such i n d e b t e d n e s s , how ever, t h e ch an so n m a in ta i n e d i t s own c h a r a c t e r .

A lthough one may s p e a k o f m a d r i g a l i n f l u e n c e

on t h e s t y l e o f c e r t a i n chanso ns o r on t h e m u s ic a l s e t t i n g s o f R o n s a r d ’ s Amours, t h e s e were n e v e r t r u e m a d r i g a l s .

Those w r i t t e n

by F re n c h com posers were a d a p te d to I t a l i a n words and p u b l i s h e d i n Ita ly .

The exam ples we have seen show t h a t c e r t a i n F re n c h m u s i c i a n s

were aw are o f t h e m u s ic a l e f f o r t s o f t h e i r I t a l i a n n e i g h b o r s and o c c a s i o n a l l y composed m a d r i g a ls o r to o k t h e i r i n s p i r a t i o n fro m I t a l i a n

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com position.-,.

B ut t h e i r p r e f e r e n c e w ent t o t h e form o f t h e F re n c h

chanson w h ic h , b u t f o r r a r e e x c e p t i o n s , s a t i s f i e d them c o m p le te ly . The m u s i c a l m a d rig a l was w e l l known i n F l a n d e r s .

Towards th e

m id d le o f t h e c e n t u r y i t s p r e a d beyond t h e b o r d e r s o f I t a l y i n t o S p a in and l a t e r t o C a t a l o n i a ,

*” ’ w here i t i n s p i r e d t h e s h o r t - l i v e d

C a t a l o n i a n m a d r i g a l s c h o o l c e n t e r e d a ro u n d J o a n S r u d i e u . same tim e i t was i n t r o d u c e d i n t o E n g la n d , an e x t r a o r d i n a r y vogue. i n Germany. ,

17



le t,

IS

At a b o u t t h e

' where i t was to have

L a t e r ’ th e m u s ic a l m a d r ig a l had some i n f l u e n c e s t r a n g e l y enough, t h i s form w hich was r e v o l u t i o n ­

i z i n g m u s i c a l te c h n iq u e i n I t a l y

and e ls e w h e r e was a p p a r e n t l y n o t a b l e

t o p e n e t r a t e to any e x t e n t i n t o t h a t c o u n t r y w hich, b y i t s g e o g r a p h i c a l p o s i t i o n , s h o u ld have b e e n most r e a d y t o a c c e p t . i t . T his r e s i s t a n c e i s d i f f i c u l t to e x p la in .

A ll d u rin g th e century

t h e ch an so n a p p e a r s t o have h e l d i n F r a n c e t h e p o s i t i o n t h a t t h e m a d r i g a l o c c u p i e d i n I t a l y , b u t i n F ra n c e t h e chanson was u sed t o th e e x c l u s i o n o f o t h e r s i m i l a r fo rm s ,

time. B ontoux e x p l a i n e d t h i s l a c k o f

o u t s i d e p e n e t r a t i o n by t h e e x t r a o r d i n a r y p r e s t i g e o f t h e F re n c h ch an son : La F ra n c e a v a i t conuu d e j a s a p e r i o d e de p r o s p e r i t e : s e s d e i i c i e u s e s ch an so n s renommees a j u s t e t i t r e dan s t o u s l e s p ays e n v i r o n n a n t s , a v a i e n t e t e l e p o i n t de d e p a r t du gi-and 1 mouvement de rausique v o c a l e q u i s * e t a . i t o p e r e d a n s t o u t e une p a r t i e du c o n t i n e n t . 18.

w h e th e r o r n o t t h e F ren ch chanson i n f l u e n c e d t h e m a d r i g a l to any a p p re c ia b le e x te n t, i t c e r t a in l y passed in to I t a l y , as in to o th e r s u r r o u n d in g c o u n t r i e s .

F re n c h ch ansons w ere o f t e n composed by I t a l i a n s

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and p u b l i s h e d s i d e by s i d e w i t h m a d r i g a ls i n numerous I t a l i a n c o l l e c t i o n s , such a s I I Prim e l i b r o d i ma.drr.gali i t a l i a n i e t Canaoni F r a n c e s e a Due Voci Di Je h a n G e ro .

1Q

The p r i o r i t y o f t h e chanson

o v e r t h e 1 6 th c e n t u r y m a d r i g a l and t h e c h a n s o n 's g r e a t p o p u l a r i t y m ig h t w e l l j u s t i f y t h e p r i d e o f F re n c h com posers i n t h i s c r e a t i o n o f t h e i r c o u n t r y , b u t do n o t g iv e an a l t o g e t h e r s a t i s f a c t o r y e x p l a n a t i o n f o r t h e co m plete a b s e n c e o f F ren ch m u s ic a l m a d r i g a l s . M.

Morcay has d e f i n e d t h e 1 6 th c e n t u r y l y r i c poem a s 'u n poeme

d i v i s e - en s t r o p h e s e t th e o r i u u e m e n t d e s tin e " a e t r e chante".

T h is

form , he b e l i e v e d , was b u i l t on t h e model o f th e m u s ic a l 'c h a n s o n p o p u l a i r e ' , which i n t u r n was t o i n s p i r e t h e l e a r n e d c h a n s o n , f i x i n g i t a s a s t r o p h i c form o f m u s ic . ~ ’

Could th e m a d r i g a l hav e been

r e j e c t e d because i t d id n o t f a l l in to th e s tr o p h ic p a t te r n ?

Such an

e x p l a n a t i o n i s h a r d l y s a t i s f a c t o r y s i n c e t h e n o n - s t r o p h i c s o n n e t was s e t t o m usic u n d e r th e i n s p i r a t i o n o f R o n s a rd . P r o b a b ly an e x p l a n a t i o n o f th e m a d r i g a l ' s l a c k o f f o r t u n e i n F ra n c e may be found i n t h e P l e i a d e ' s s t r e s s on a n t i q u e fo rm s which i* p r e p a r e d t h e way f o r B a i f ' s 'V e r s m e su res a 1 ' a n t i q u e ’ , s e t to ✓

,

music b y t h e composers o f C h a r l e s IX ' 3 Acad.em.ie de M u sin u e .

Such

an e x p e r im e n t, s a n c t i o n e d by t h e new L a t i n and G reek c u l t u r e , was i n th e s p i r i t of th e tim es.

The m a d r i g a l , on th e o t h e r h a n d , had

no such a n t i q u e t r a d i t i o n t o recommend i t . c e rta in d is tr u s t of I ta lia n

At t h e same t i m e , a

’f r i v o l i t y ’ and ' c o r r u p t i o n ' , o f t e n to

be fou nd i n F ra n c e i n th e 1 6 th c e n t u r y , must a l s o have had i t s p a r t

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

i n t h e m u s ic a l m a d r i g a l ' s l a c k o f s u c c e s s i n t h a t c o u n t r y .

2.

The -Italian Literary Madrigal in F ra n c e

The I t a l i a n l i t e r a r y m a d r i g a l c o u ld e n t e r F r a n c e more e a s i l y th a n th e m u s ic a l fo rm .

I t a l i a n was w id e ly known, a t l e a s t i n

c u l t i v a t e d c i r c l e s , and l i t e r a r y m a d r i g a ls c o u ld r e a c h t h e i r p u b l i c w i t h o u t t h e a i d o f m u s ic a l i n t e r p r e t a t i o n . The m a d r i g a l was c a r r i e d d i r e c t l y t o F r a n c e b y I t a l i a n t r a v e l e r s and p o e t s s e e k i n g t h e i r f o r t u n e a t t h e F re n c h c o u r t o r e ls e w h e r e in t h a t co u n try .

Among t h e s e was L u i g i A lam anni, a t t a c h e d t o t h e

court of Francis 1st, to whom he dedicated his Opere Tpscane,

f i r s t p u b l i s h e d i n Lyon i n 1 55 2.

T h is c o l l e c t i o n c o n t a in e d a l l t h e

t r a d i t i o n a l fo rm s u s e d by P e t r a r c h , s o n n e t , c a n z o n e , b a l l a t e , and m a d rig a le .

As H a u v e tte h as shown,

P? *

tv/o s h o r t poems i n t h e O oere

T o s c a n e , w i t h o u t s p e c i f i c t i t l e s b u t i n c l u d e d among t h e ' s o n e t t i * , a r e p a t t e r n e d e x a c t l y on two o f P e t r a r c h ' s m a d r i g a l s : Alamanni

P e tra rc h

I n f r a b ia n ch e, ru g ia d e e Nova a n g e l e t t a s o v r a verdi frondi - 2 3 . I ' a l a a c c o r t a . 25. G i a ' l biondo A p o llo e l e Non a l suo araante s a c r a t e s u o r e 24. p i u D ian a p i a c q u e . 26.

O th e r s h o r t poems, s i m i l a r t o s i n g l e s t a n z a s o f P e t r a r c h ' s c a n z o n i , c o rr e s p o n d t o M a s s i n i ' s d e f i n i t i o n o f t h e f r e e I t a l i a n m a d r i g a l o f t h e 1 6 th c e n t u r y .

Such i s t h e canzone

'Q u a n to d i d o l c e a v e a ' , 2 7 '

p a t t e r n e d on P e t r a r c h ' s ’ C h i a r e , f r e s c h e e d o l c i a c q u e . '

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O th e r s d e v i a t e s l i g h t l y from t h e models o f P e t r a r c h , b u t a r e a p p a r e n t l y b u i l t on t h e same p r i n c i p l e .

Thus t h e m a d r i g a l was i n t r o d u c e d i n t o

F ra n c e i n t h e v e r y e a r l y y e a r s o f i t s r e v i v a l i n I t a l y , and by one o f t h e c h i e f a d v o c a te s o f a r e t u r n t o t h e models o f P e t r a r c h a s w e l l a s to t h e l y r i c form s o f G reece and. R.ome. An I t a l i a n m a d rig a l a p p e a r i n g i n t h e O eu vres o f L o u is e Labe i n 1555 and a s c r i b e d by B lanchem ain t o Alamanni o r Sim eoni i s p r o b a b ly t h e

more

work o f th e l a t t e r , f o r Alamanni would h a r d l y h ave d e v i a t e d

so much from t h e p a t t e r n s o f P e t r a r c h : M a d r ig a le N

A rse c o s i p e r v o i , Donna, i l mio co re I I primo d i c h ' i n t e n t o v i m i r a i Che c e r t o mi p e n s a i Che no p o t e s s e i n me c r e s c e r e p iu a r d o r e ; Ma in v o i belt& crescen do d 'h or ' i n hora, C r e s c ' i n me i l .fuoco a n c o r a , I I q u a l no p o t r a ma c r e s c e r ’ s i poco Ch’a l t r o no s a r o p iu che fiamme e f u o c o . ?,9.

Among t h e Rime composed by A n to n io C o r v in i i n 1536 and s e n t to O det de l a Noue, p r i s o n e r i n t h e c a s t l e o f T o u r n a i , i s a m a d r i g a l i n rim in g c o u p l e t s , b u t composed i n th e t r a d i t i o n a l seven and e l e v e n - s y l l a b l e l i n e s :

M a d r ig a le Hon e ( l a s s o ) m a r t i r e I I c o n v e n ir p e r v o i (NOIA) m o r ir e Se l a c a g g io n d e l l a mia m o rte e t a l e Che f a l i e v e o g n i m ale; Ma q u e l che mi to r m e n ta E, che d e l mio ra o rir s i e t e c o n t e n t a , E che a l primo v e d e r d ' a l t r o a m ato re C a n g ia s te i l v o s t r o c u o r e . Hon e durxque mar t i r e I I c o n v e n ir p e r v o i (HOIA) m a r t i r e . 50.

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

U nd ou btedly t h e s e exam ples do n o t e x h a u s t t h e l i s t o f I t a l i a n m a d r i g a l s w r i t t e n i n F ra n c e o r e x p r e s s l y f o r a F re n c h p a t r o n o r frie n d .

The f o l l o w i n g c o l l e c t i o n c o n t a i n i n g m a d r i g a l s was d e d i c a t e d to

M a r g u e r i t e de V a l o i s , Duchesse de S av o ie : Rime a e g l i Academici E t e r e i , d e d i c a t e a l i a S e r . ma. Ivladama M a r g h e r it a d i V a l l o i s Ducchezza d i S a v o ia , Padova, 1 g e n n a io , 1567. A n o th er c o l l e c t i o n i n c l u d i n g m a d r i g a l s was r e p r i n t e d i n Lyon: Le nuove fiarame d i M. Ludovico P a t e r n o , con d i l i g e n t i a r i u n i t e e r i s t a m p a t e , L io n e , G uglieim o R o v i l l i o , 1568. 51.

The m a d r i g a l must a l s o have come to t h e c u l t i v a t e d F rench p u b l i c i n works p r i n t e d i n I t a l y .

Among t h e p r i n c i p l e A n th o lo g ie s

w hich V ianey l i s t s a s w id e ly u s e d by F ren ch P e t r a r c h i s t s o f t h e 1 6 th cen tu ry ,

many c o n t a i n m a d r i g a l s , a l th o u g h o t h e r fo rm s , and p r i n c i p a l l y

s o n n e t s , a r e r e l a t i v e l y much more a b u n d a n t. C e r t a i n F re n c h a u t h o r s who were p a r t i c u l a r l y c l o s e t o I t a l y composed m a d r i g a l s i n I t a l i a n .

W hether some o f t h e poems s e t t o

m usic by Simon B o i l e a u and by G uillaum e T e s s i e r were 'w r i tte n by them i s n o t known.

C e r t a i n l y Odet de l a i'ioue i s t h e a u t h o r o f two I t a l i a n

m a d r i g a l s w r i t t e n m answ er t o th e Rime o f A n to n io C o r v i n i . " *

P ie rre

B ric a rd in c lu d ed e ig h t m a d rig als in h is c o l l e c t i o n o f I t a l i a n v e r s e , p u b l i s h e d i n P a r i s i n 1601 u n d e r t h e t i t l e : La F l o r i d e a d e l f e d e l e A.rdo. P a r t e P rim a . S tam pata i n P a r i g g i . A presso C-io. G e s s e l i n , n e l l a s t r a d a d i San Giacomo, a I ’ i n s e g n a d i S. M a r tin o , e t s i vende n e i C o r r i d o r e d e l l i p r i g i o n e r i n e l P a l a z z o . 1 60 1. 54.

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

Thus, I t a l i a n m a d r i g a l s were n o t o n ly r e a d b u t i n s p i r e d a few F re n c h p o e t s t o v i e w ith I t a l i a n a u t h o r s i n t h e i r own la n g u a g e .

5.

M e ll in de S a i n t G e la i s and t h e f i r s t F r e n c h M a d rig a l

The f i r s t F re n c h m a d r i g a l a p p e a r s t o have been w r i t t e n by M e ll in de S a i n t G e l a i s , who th r o u g h h i s c l o s e a s s o c i a t i o n w i t h I t a l y d e s e r v e s h i s p l a c e among P i c o t ' s F r a n c a i s I t a l i a n i s a n t s .

L ik e many F re n c h w r i t e r s

o f th e 16t h c e n t u r y , M e llin de S a i n t G e la i s d i d n o t p u b l i s h a c o l l e c t i o n o f h i s w o rk s, b u t a llo w e d them t o c i r c u l a t e i n m a n u s c r i p t among a l i m i t e d p u b l i c .

The one m a d r i g a l he w ro te was n o t p r i n t e d

i n th e e d i t i o n o f 1547, which p r o b a b l y a p p e a re d w i t h o u t t h e a u t h o r ' s know ledge, and i t s a b s e n c e from t h i s e d i t i o n may i n d i c a t e t h a t th e m a d r i g a l was n o t one o f h i s b e tte r - k n o w n poems.

The m a d r i g a l f i r s t

a p p e a r e d i n t h e posthum ous b u t a p p a r e n t l y more a u t h e n t i c e d i t i o n o f 55. 1574. ' '

I t a l s o a p p e a re d i n m a n u s c r i p t w ith s l i g h t v a r i a t i o n s u n d e r

th e t i t l e M an d rig al.

56. ’

H ere i s t h e t e x t o f 1574: M a d r ig a le

I I n ' e s t mai com parable A mon extrem e e t i n f i n i m a lh eu r; Mesme l a m ort n ' e s t p o i n t t e l l e d o u l e u r . 0 d e s i r immuable, Qui m 'av e z f a i c t c h a n g e r t a i n t e t c o u l e u r ! 0 e sp o ir v a ria b le , Qui m 'a p p o r t e z l e f r o i d e t l a c h a l e u r ! Soyez te s m o in s coram'en t r i s t e p a l e u r J ' a y supporte" l a p l u s v i v e e s t i n c e l l e Qu'homme d e c o e u v re ou c e l l e , E t f a i t e s t a n t o u 'a u monde, p a r vous deux S 'e n t e n d e l a n o u v e l l e De ce grand t o r t e t c r u a u te ' n o u v e l l e : 0 ferm e f o y de t o y s e u l e me d e u l s , Car d ' a u t r e n ' o s e , e t d o u l o i r ne me veux: M ais l a c o u lp e en demeure

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

A q u i me t u e e t ne v e u t que j e m eure. The m a d r i g a l i s w r i t t e n i n a co m b in atio n o f s i x and t e n - s y l l a b l e l i n e s , e v i d e n t l y a o p r o x im a tin g th e t r a d i t i o n a l seven and e l e v e n - s y l l a b l e l i n e s o f t h e I t a l i a n form .

Remarking t h a t t h e f i r s t e i g h t l i n e s a r e

b u i l t on two rim e s w h ile t h e s i x f o ll o w i n g l i n e s a p p ro x im a te t h e t i e r c e t s o f a s o n n e t , J a c q u e s M ad ele in e h a s shown th e un do ubted r i m e - r e l a t i o n o f * '7

t h i s m a d r i g a l t o th e s o n n e t f o r m . 0 *

l e t t h e rhythm and s e n s e a r e

b ro k e n a t t h e t h i r d l i n e , t h u s fo rm in g an o p e n in g t i e r c e t which re s e m b le s t h e t r a d i t i o n a l t i e r c e t o f t h e 1 4 th c e n t u r y m a d r i g a l . The f i n a l r im in g c o u p l e t on an in d e p e n d e n t rim e m ig h t be ta k e n a s an i m i t a t i o n o f th e coda i n t h e 1 4 th c e n t u r y *s o n e t t o cau d a to o r r i t o r n e l l a t o * b u t i t i s a l s o a f e a t u r e o f t h e t r a d i t i o n a l m a d r i g a l form .

M oreover,

c e r t a i n I t a l i a n m a d r ig a ls w r i t t e n a b o u t th e tim e o f S a i n t G e l a i s , among them th e f o ll o w i n g poem o f M ic h e la n g e lo , show an a f f i n i t y t o t h e s o n n e t form : M a d r ig a ls M entre c h e ' l mio p u s s a to m'e p r e s e n t e , S i come o g n i o r mi v ie n e 0 mondo f a l s o , a l l o r conosco b en e l ' e r r o r e e ' l danno d e l l'u m a n a g e n te : Quel c o r c h ' a l f i n c o n s e n te a tu o l u s i n g i e a t u o 'v a n d i l e t t i p ro c a c c ia a ll* a lm a d o lo ro s i g u a i. Ben l o sa ch i l o s e n t e . Come sp esso p r o m e t t i a l t r u i l a pace e ’l b e n , che t u non a i , n^ a e b b i a v e r g i a m ai. Dunche a men g r a z i a c h i p iu qua s o g g io r n a ; Che che men v i v e p i u l i e v e a l c i e l t o r n a .

59.

S a i n t G e l a i s ' poem co u ld t h u s have been p a t t e r n e d on t h e I t a l i a n m a d r i g a l no l e s s th a n on t h e s o n n e t .

A nother o f h i s poems, th e

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

5S.

P a s q u i n , a l s o w r i t t e n i n s i x and t e n - s y l l a b l e l i n e s a n d , l i k e t h e m a d r i g a l , somewhat s i m i l a r i n form to a. s o n n e t , can o n ly be d i s ­ t i n g u i s h e d from i t by i t s t r a d i t i o n a l s a t i r i c o r e p ig ra m m a tic tre a tm e n t o f s u b je c t-m a tte r. A ltho ugh S a i n t G e l a i s was a p r a c t i c e d m u s ic ia n an d o f t e n composed m usic f o r h i s own p o e t r y , s i n g i n g i t to t h e accom panim ent o f t h e l u t e , t h e r e i s no i n d i c a t i o n t h a t h i s m a d r i g a l was i n t e n d e d t o be s e t to m u s ic .

P r o b a b ly he was n o t c a p a b le o f com posing th e

e l a b o r a t e polyphonic music which was a s s o c i a t e d w ith t h e I t a l i a n m a d r i g a l , and t h e poem’ s i r r e g u l a r form would p r e v e n t i t from b e i n g a d a p t e d t o t r a d i t i o n a l F re n c h m u s ic a l schem es. a s B e c k e r h a s .suggested,

41.

I t i s p o ssib le ,

t h a t t h e i n t e r e s t i n g rhythm o f t h i s

poem was d i c t a t e d by a g iv e n I t a l i a n m u s ic a l s e t t i n g . i s n o t n e c e s s a r y t o p re s u p p o s e a m u s ic a l p a t t e r n ,

However, i t

s i n c e t h e rhythm f a l l s

i n t o t h e t i e r c e t s and c o u p l e t s t y p i c a l o f t h e I t a l i a n l i t e r a r y m a d r i g a l , t h u s c o n f ir m in g beyond a l l d o u b t t h e r e l a t i o n s h i p o f t h i s poem t o t h e I t a l i a n form . S a i n t G e l a i s ’ m a d r ig a l and p a s q u in a r e a p p a r e n t l y t h e f i r s t 42. F re n c h exam ples i n t h e 1 6 th c e n t u r y o f t h e ’v e r s l i b r e * . The m a d r i g a l may t h u s be c r e d i t e d w ith h a v in g i n t r o d u c e d t h e s h o r t f r e e v e r s e form i n t o F r a n c e .

B ecker g iv e s a s o t h e r ex am ples o f ’v e r s

l i b r e s ’ i n t h e 1 6 th c e n t u r y a number o f s h o r t poems i n B a i f ’ s ... , , 4 ?. Second L iv r e des amours.

These he b e li e v e d to b e m adrigals

although they do not bear that title.

44..

"*

However, they nave

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n o th i n g o f t h e t r a d i t i o n a l m a d ri g a l fo rm , no t r a c e o f t h e t i e r c e t s o r f i n a l r im in g c o u p l e t .

m\

S a i n t G e l a i s ' poem seems

to be t h e o n ly example o f a m a d ri g a l i n ' v e r s f i b r e s ' t o have a p p e a r e d i n F r a n c e i n t h e 1 6 th c e n t u r y . T h is f i r s t example i s i n t e r e s t i n g c h i e f l y f o r i t s form and rhythm .

In c o n t e n t i t i s a l o v e - c o m p l a i n t d e v e lo p e d w ith t h e

a n t i t h e s i s c h a r a c t e r i s t i c n o t only o f t h e m a d rig a l b u t a l s o o f o t h e r P e t r a r c h i s t fo rm s .

[ I n d i s t i n g u i s h a b l e from o t h e r v e r s e by

s u b j e c t - m a t t e r a l o n e , i t i s c h i e f l y an e x p e r im e n t i n f o r m a l v a r i a t i o n

4.

The M a d rig a l o f R onsard

The m a d rig a l' a p p e a r e d l a t e r i n th e c e n t u r y a s a t r u e s o n n e t v a ria tio n .

B e g in n in g w i t h t h e 1578 e d i t i o n o f h i s w o rk s, R o nsard

was t o g iv e t h e t i t l e o f ' m a d r i g a l ' t o c e r t a i n o f h i s s o n n e t s t o which he had added a number o f l i n e s .

H is c o n c e p tio n o f t h e

m a d rig a l a s a v a r i a t i o n o f t h e s o n n e t was q u i t e g e n e r a l l y a c c e p te d d u r i n g t h e r e s t o f t h e c e n t u r y . R onsard b eg an v e r y e a r l y t o 'e x p e rim e n t w ith t h e s o n n e t form , a l t h o u g h he c o n t in u e d f o r some tim e to c a l l h i s e x p e r im e n ts ' s o n n e t s ’ His v a r i a t i o n s d i d n o t a f f e c t t h e q u a t r a i n s , which alw ay s rem a in ed r e g u l a r , b u t he b eg an i n t h e 1555 e d i t i o n o f h i s Amours

t o m od ify

t h e p a t t e r n o f t h e t i e r c e t s by t h e a d d i t i o n o f one o r more l i n e s . 45 J a c q u e s M a d e le in e h a s a n a l y z e d t h e s e v a r i a t i o n s a t some l e n g t h , ’’ ' b u t , n o t h a v in g a c c e s s t o a c r i t i c a l e d i t i o n n o r t o a l l t h e o r i g i n a l

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e d i t i o n s , he d i s c o v e r e d o n ly e i g h t e e n o f t h e tw e n ty e x te n d e d s o n n e ts o r ' m a d r i g a l s ' , and was n o t a b l e t o t r a c e t h e i r v a r i a t i o n s th r o u g h th e d i f f e r e n t e d i t i o n s . F o llo w in g i s a t a b l e o f R o n s a r d 's v a r i a t i o n s on t h e r e g u l a r s o n n e t f o rm .* *

The d a t e i n th e margin c o r r e s p o n d s t o t h e f i r s t

e d i t i o n o f R o n s a r d 's 'w o r k s i n which t h e poem a p p e a re d a s an i r r e g u l a r s o n n e t, w h e th e r w ith th e t i t l e o f m a d r i g a l o r n o t .

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

Table of Ronsard*s Madrigals

1555 • 'Amour se v i n t c a c h e r dans l e s y en s de C -assan dre’ (15 l i n e s ) , C o n ti n u a t i o n d e s Amo u r s , w i t h o u t t i t l e 1578 - reduced to 14 l i n e s ; . n e v e r e n t i t l e d Madrigal 1556 • •Comment au d e p a r t i r 1 ' a d i e u p o u r r a y - j e d i r e ' .( 1 5 l i n e s ) , d o u v e l l e C o n t i n u a t i o n d e s Amou r s , title : S o n e t. 1578 - 16 l i n e s . 1584 - 18 l i n e s , t i t l e :

M a d rig a l.

1560 • •Docte B u t t e t , q u i a s m o n s tre l a voye*, (15 l i n e s ) , O euvres, w ith o u t t i t l e . 1534 - t i t l e : M ad riga l. 1565 • • P r in c e R oyal, cuand l e C i e i t ’ a n im a 1 (15 l i n e s ) , E l e g i e s , Masca r a d e s , w i t h o u t t i t l e . ]584 - t i t l e :

M ad rig a l.

1571 ■ •Dieu v o y a g e r M en alien M ercu re' (16 l i n e s ) , O euvres , w i t h o u t t i t l e . 1584 - t i t l e : M a d r i g a l . 1572 -

•Voicy ce bon l u t e u r non ja m a is a b a t u 1 (16 l i n e s ) , B e i l e a u , Remy, La B e r g e n i e , 2nd . e d i t i o n . 1587 - t i t l e :

M a d rig a l.

1578 ■ •Depuis l e j o u r que j e t e v e y , M a i s t r e s s e ' O e u v r e s , t i t l e : M a d r ig a l I I I .

(16 l i n e s )

1578

•Dequoy t e s e r t m a in te A gathe g r a v e e ’ (16 l i n e s ) , O euvres , T i t l e : M a d r ig a l I I .

1573

L'homme e s t b i e n s o t c u i airae s a n s c o g n o i s t r e ' , (19 lines), Oeuvres,title: M a d rig a l I .

1578

• P e r l e s r u b i s e t p i e r r e s p r e c i e u s e s ' (16 l i n e s ) , Oeuvr e s 1584 - t i t l e :

1578

M ad rig al.

•Quand l a congnee, ou I ’ o ra g e v e n t e u x ’ (16 l i n e s ) , O euvres 1584 - t i t l e :

M ad rig al.

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1578 - 'Que raau d it s o i t l e m iro u e r q u i vous m i r e ' (16 l i n e s ) , Oeuvres 1569-71 - 14 l i n e s 1534 - t i t l e : M a d rig a l. 1578 - ’ S i c ' e s t a i m e r , Madame, e t d e j o u r e t de n u i t ’ (16 l i n e s ) , Oeuvres 1584 - t i t l e : M a d r ig a l♦ 1584 - ’ Comme d ' u n enneray, j e veu x en t o u t e p l a c e ' (15 l i n e s ) , O e u v re s , t i t l e : M a d r i g a l . 1559-60 - 14 l i n e s . 1584 - ’M a i s t r e s s e , de mon co eu r v ou s em p ortez l a c l e f ’ (15 l i n e s ) , O euvres 1559-60 - 14 l i n e s 1587 - t i t l e : M a d r ig a l. 1584 - ’Mon d o c te P e l e t i e r , l e tem ps l e g e r s ’ e n f u i t ’ (16 l i n e s ) , O eu v res, t i t l e : M a d r ig a l. 1555-78 - 14 l i n e s . 1584 - ’P r e n e s mon c o e u r , Dame, p r e n e s mon c o e u r ’ (15 l i n e s ) , O e u v re s, t i t l e : M a d r i g a l , 1553-73 - 14 . i n e s 1587 - 16 .Lines 1584 - *Un s o t V ulcan ma C yprine f a c h o i t 1 (15 l i n e s ) O e u v re s , t i t l e : M a d r ig a l. 1552-78 - 14 l i n e s 1537 - ’E n ’ e s s e , mon P a a u i e r , e n ’ e s s e p a s g ra n d c a s ’ (16 l i n e s ) , O eu v res, t i t l e : M a d r i g a l . 1587 - ’Voyez comme t o u t ch an g e 1 (16 l i n e s ) O euvres, t i t l e : M ad rig a l. 15 78-34 - 14 l i n e s .

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The t a b l e shows a d e f i n i t e d i r e c t i o n i n R o n s a r d 's e x p e r i m e n t a t i o n . C a u t i o u s l y , he b egan by a d d in g a s i n g l e l i n e t o t h e r e g u l a r s o n n e t fo rm .

D u ring t h e y e a r s 1571-73 a l l b u t one o f h i s e x te n d e d s o n n e ts

had s i x t e e n l i n e s .

T h is was t h e n i n e t e e n - l i n e poem f i r s t fo u n d i n

t h e e d i t i o n o f 1573 and c a l l e d a m a d r i g a l .

I n t h e 1584. e d i t i o n t h e r e

was more d i v e r s i t y , and an e i g h t e e n - l i n e form a p p e a r e d i n t h e p o s t ­ humous e d i t i o n o f 1537. The f i f t e e n - l i n e poems a r e a l l e x te n d e d by th e t r a n s f o r m a t i o n

..

o f one o f t h e t i e r c e t s o f t h e s o n n e t form i n t o a q u a t r a i n , e i t h e r w ith c r o s s e d o r w ith embraced r im e - s c h e m e .

The s i x t e e n - l i n e form s

a r e b u i l t e i t h e r by t h e a d d i t i o n o r i s o l a t i o n o f an i n d e p e n d e n t rim ed c o u p l e t ( a s i n 'V oicy ce bon l u t e u r ' , M e r c u r e ',

'D e p u is l e j o u r ' ,

'E , n ' e s s e , mon P a q u i e r ' ,

'Dequoy t e s e r f ,

'D ie u v o y a g e r M enalien 'Quand la. c o n g n e e ',

'P r e n e s mon c o e u r ' ) o r by t r a n s f o r m i n g

the. two t i e r c e t s o f a s o n n e t i n t o q u a t r a i n s v a r i o u s l y rim ed ( a s i n 'P e r le s , r u b i s ' , m a u d it s o i f ,

' Comment au d e p a r t i r ' , e d i t i o n o f 1573, 'Quo

'Mon d o c t e P e l e t i e r ’ , 'V oy ez comme t o u t changed).

There

i s b u t one e x c e p t i o n . The l a s t e i g h t l i n e s o f th e m a d r i g a l ' S i 1 1 1 2 1 1 1 2 c ' e s t a i m e r ' , ( f f m f m f m f ) f a l l i n t o no r e c o g n i z a b l e p a t t e r n , and obey no law s b u t t h a t o f t h e a l t e r n a t i o n o f m a s c u lin e and f e m in in e r im e s . au d e p a r t i r '

The t i e r c e t s i n t h e e i g h t e e n - l i n e m a d r i g a l ' Comment

( e d i t i o n o f 1584) have d i s a p p e a r e d a l t o g e t h e r by t h e

a d d i t i o n o f f o u r l i n e s , and t h e whole l a s t p a r t i s b u i l t o f c o u p l e t s j o i n e d by t h r e e r im e s .

In t h e n i n e t e e n - l i n e ooem 'L'homme e s t

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

44.

bioc'Ce hs.

r ~~'' ~■C;er. y-' .'T:■c a " p " cno v e n '.Lrr i t a r c a t "l 1 1 . ? 1 ? 1 and two r t r t r a i n s , r im in g i:' f o ll o w i n g o u t t u r n : m m f , m f m £ , 2 1 ?:■ 1 tp . j? m f . E x c e p t i n th o sixteen~ 1 5.ne so n n e ts* i n which an in d e p e n d e n t rim i r.£ coup! e-r >c,,« b e e n prided,; u s u a l l y betw ee n t h e q u a t r a i n s end t i e r c e b c o f

r e g u l s ? s o n n e t, e l 3. o f t h e s e a d d i t i o n s

t o t h e r e ? ' i ] . ' r so n r.e t form a r e c o n n e c te d h*r rim e w ith t h e n e s t o f th e poem and r a d i c a l l y a f f e c t i t s

stru c tu re .

As Jnoqnei:. '^ • d e f o in e h e r r ho-pi, n o t f o ll o w t h e p a t t e r n o f t h e I t a l i a n

Ron s a r d r s e x p e r im e n t do es t s o r m e tto c a u d a te o r r i t o r n & l l a t o f ,

which added one o r mors l i n e s a t th e end o f t h e r e g u l e r s o n n e t i n th e n arn r.r o f a r e f r o in r h i c h c o u ld b e ex ten d ed i n d e f i n i t e l y .

The

a d d i t i o n s o f R o n sard seem t o h av e been made i n t h e s t r u c t u r e o f t h e sonnet i t s e l f .

I t i s d o u b t f u l w h e th e r he was aw are o f t h e co n tem p o rary

I t a l i a n d e v i a t i o n s from. tin- s o n n e t form .

The *s o n e t t o c a u d a t e ' , which

had had c, c e r t a i n vogue i n t h e 1.4th c e n t u r y , had come t o ha u.ed. i n th e 15 th and 1 6 th c e n t u r i e s a l m o s t e n t i r e l y f o r s a t i r e .

L i t e r a r y b a t t l e s in. *s o n c t t i 48. c a u d a t i ’ were f r e q u e n t among p o e t s o f t h e l a t e 1 5 t h and 1 6 th c e n t u r i e s ,

and t h e form , l i k e t h e *n a d r i g s l e s s i * and ' m a . d r i g s . l o n i v x ;. a f a v o r i t e ■among t h e s a t i r i c a l p o e t s .

Ron sard* s e x p e r i m e n t a t i o n seems to b e

in d e p e n d e n t o f t h a t in. c o n tem p o rary I t a l y , f o r none o f h i s s u b j e c t s are s o tiric a l» H is extend ed s o n n e t c r r m o t b e d i s t - i n c u i s h e d from t h e r o n .f l a r form by s u b j e c t m a t t e r , f o r e i g h t o f th « tw en ty noems were p u b l i s h e d as f o u r t e e n - l i n e s o n n e t,t.

L ik e t h e s o n n e t s , th e y a r e

c h i e f l y lo v e poems i n th o P e t r a l - c h i s t v e i n o r e n c o m i a s t i c v e r s e .

We

may o n ly say t h a t t h e y h av e none o f t h e p e r s o n a l to u c h n o r t h e f e e l i n g

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

which c o n s t i t u t e s a i l t h e c h a i n o f R o n s a r d 's m ost s u c c e s s f u l s o n n e t s . They a p p e a r t o be b u i l t e n t i r e l y on a n t i t h e s i s o r t h e c o m b in a tio n o f P e t - r a r c h i s t commonplaces. T J n d is ti n g u is h a b ie i n s u b j e c t m a t t e r from t h e r e g u l a r s o n n e t , t h e m a d r i g a l a p p e a r s t o b e e s s e n t i a l l y a v a r i a t i o n i n fo rm . W hile t h e m a d r i g a l s may have o r i g i n a t e d a s e f f o r t s to im prove on t h e t e x t o f re g u la r s o n n e t s , t h e

f a c t t h a t i n 1573 E o n sard b eg an t o e n t i t l e

t h e s e poems ' m a d r i g a l s ' i n d i c a t e s t h a t he t h e n t h o u g h t o f them a s an in d e p e n d e n t ty p e o f v e r s e .

R o n s a rd ’ s e x p e r im e n t m ust th u s be con­

s i d e r e d a s a c o n s c io u s e f f o r t t o c r e a t e a new l y r i c form . H is m a d r i g a l s a r e n o t d i s t i n g u i s h e d from t h e s o n n e ts by a g r e a t e r l i b e r t y i n t h e a l t e r n a t i o n o f m a s c u lin e and f e m in in e r i m e s .

The

q u a t r a i n s o f t h e m a d r i g a l 'L'homme e s t b i e n s o t ' a r e b u i l t e n t i r e l y on f e m in in e r i m e s , b u t t h e same i s t r u e o f c e r t a i n o f h i s s o n n e t s . The m a d r i g a l 'Comment s.u d e p a r t i n ' o b s e r v e s t h e law o f r i m e - a l t e r n a t i o n n e i t h e r i n t h e q u a t r a i n s n o r betw een them and t h e f i r s t t i e r c e t , b u t l a t e r a d d i t i o n s b r i n g t h e poem n e a r e r to c o n f o r m i ty .

The v a r i a n t

t r a n s f o r m i n g t h e s o n n e t 'E n ' e s s e , mon P a s q u i e r ' i n t o a m a d ri g a l l i k e w i s e e s t a b l i s h e s t h e a l t e r a t i o n o f rim e s betw ee n q u a t r a i n s and tie rc e ts .

A l t e r n a t i o n i s o b s e rv e d i n most o f th e m a d r i g a l s , a s i n t h e

m a j o r i t y o f R o n s a r d 's s o n n e t s .

H is f o r m a l v a r i a t i o n t h u s i n t r o d u c e s

i n t o t h e t i e r c e t s g r e a t e r l i b e r t y o f c o n s t r u c t i o n and rim e , b u t no g re a te r lib e r ty in rim e -a lte rn a tio n .

Nor i s t h e r e any i n n o v a t i o n i n

t h e rhythro o r l e n g t h o f l i n e i n t h e m a d r i g a l s .

U n lik e S a i n t G e l a i s '

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

46.

poem, t h e y have no p la c e i n th e h i s t o r y o f t h e ’v e r s i i b r e ’ . R o n s a r d 's e x p e r im e n t a p p e a r s to have b een in d e p e n d e n t n o t o n ly o f th e ’ s o n e t t o c a u d a t o ’ , b u t a l s o , a t l e a s t i n i t s o r i g i n , o f th e m a d rig al. o f 1573.

The t i t l e

’m a d r i g a l ’ does n o t a p p e a r b e f o r e th e e d i t i o n

Of t h e tw e n ty i r r e g u l a r s o n n e t s , n i n e t e e n a r e e n t i t l e d ,

m a d r i g a ls i n t h e v a r i o u s e d i t i o n s o f h i s w orks a f t e r 1573.

The

t w e n t i e t h was r e d u c e d t o a r e g u l a r f o u r t e e n - l i n e s o n n e t b e f o r e th e apoearanee of t h a t e d i tio n . I t i s a c u r i o u s c o i n c id e n c e t h a t th e t i t l e

’m a d r i g a l ’ f i r s t a p p e a r s

i n th e c o l l e c t i v e e d i t i o n o f R o n s a rd ’ s works which f o l l o w s t h e p u b l i c a t i o n o f S a i n t Gel a i s ' m a d ri g a l i n 1574.

Very p o s s i b l y , i t

was t h e a p p a r e n t r e l a t i o n s h i p o f S a i n t Gel a i s '

poem to t h e s o n n e t

w hich in d u c e d Ronsard t o g iv e t h a t t i t l e to h i s new form .

F u rth e r­

more, I t a l i a n m a d r i g a ls i n th e c o l l e c t i o n s and a n t h o l o g i e s h e may have known, from P e t r a r c h ' s C an ao n iere th r o u g h t h e Rime Tos c a n e o f L u i g i Ala.ma.nni t o th e many c o l l e c t i o n s o f P e t r a r c h i s t Rime, a r e a l l accom panied by a v a s t m a j o r i t y o f s o n n e t s .

Thus Ronsard m ig h t

have f e l t j u s t i f i e d i n g iv i n g t h e t i t l e o f 'm a d r i g a l ' t o h i s n ew ly c r e a t e d s o n n e t - v a r i a t i o n , which was s u rro u n d e d i n t h e Amours and o th e r c o l l e c t i o n s by r e g u la r so n n e ts. To e x p l a i n R o n s a r d 's m a d r i g a l - s o n n e t , J a c q u e s M a d ele in e a t t e m p t e d to r e v i v e th e le g e n d o f a. P r o v e n c a l o r i g i n f o r t h e m a d ri g a l. I n R o n s a r d 's e x p e rim e n t he saw th e l a s t t r a c e o f a suooosed P r o v e n c a l t r a d i ti o n , l o s t in I ta l y .

However, h i s t h e o r y i s a p p a r e n t l y

b a s e d e n t i r e l y on th e i d e n t i f i c a t i o n o f m a d r i g a l and m a r t e g a l e

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

47.

and, may be d i s m i s s e d . We have a l r e a d y seen th e c o n f u s io n among I t a l i a n t h e o r i s t s o f th e 1 6 th c e n t u r y r e g a r d i n g t h e m a d r i g a l ’ s fo rm , b r o u g h t a b o u t by th e f a c t t h a t m a d rig a l com posers s e t t o m u sic n o t o n ly f r e e v e r s e form s b u t a l s o s o n n e t s , s t a n c e s , ch an so n s and o t h e r form s o r p a r t s o f poems.

Here l i e s t h e p r o b a b l e e x p l a n a t i o n o f S a i n t G e l a i s ’

and R o n s a rd ’ s ' m a d r i g a l - e o n n e t ' .

Any f r e e o r ’n o n - f i x e d ' form m ig h t

le g iti m a te ly b e a r th e t i t l e of 'm a d r i g a l ', A lth o u g h many o f R o n s a r d 's s o n n e ts w ere s e t t o music (and h e r e one r e c a l l s t h e p r a c t i c e o f co n tem p o rary I t a l i a n m a d r i g a l com posers who u s e d s o n n e ts a s t e x t s ) , none o f h i s m a d r i g a l s were p u t t o m usic d u r i n g h i s l i f e t i m e .

'Un s o t V u lc a n 1 f i r s t a p p e a re d e s a

s o n n e t i n t h e Amours o f 1552, b u t t h e r e i s no i n d i c a t i o n t h a t i t was i n t e n d e d t o be sung to t h e m usic o f any o f t h e s o n n e ts i n t h e m u s ic a l s u p p le m e n t accompanying t h a t e d i t i o n .

'P r u n e s mon c o e u r '

was s e t t o m u sic a s a s o n n e t by B e r t r a n d i n 1573,

51

*

b u t i t d id

n o t a p p e a r a s a m a d r ig a l u n t i l t h e 1534 e d i t i o n o f R o n s a r d 's w orks. The m a d r i g a l ’ Comment au d e p a r t i r ’ was p u t t o m u sic by Boni i n 1 5 9 5 , ''’ b u t a s t h i s was some y e a r s a f t e r R o n s a r d 's d e a t h , t h e m u s ic a l accom panim ent can have had no p a r t i n th e w r i t i n g o r t r a n s f o r m a t i o n o f t h e poem.

The d i r e c t i o n o f R o n s a r d 's m a d r i g a l seems r a t h e r to

have b een away from m usic.

S in c e F re n c h m u s i c i a n s o f th e tim e

did. n o t a c c e p t t h e I t a l i a n m u s i c a l m a d rig a l w hich was c a p a b le o f a d a p t i n g i t s e l f to a f r e e p o e t i c form , t h i s i r r e g u l a r s o n n e t c o u ld n o t have f i t t e d any o f th e co n te m p o ra ry F re n c h m u s i c a l p a t t e r n s .

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

48.

M oreo ver, i n w r i t i n g s o n n e ts s u i t a b l e f o r m u s ic a l accom panim ent, Ronsard te n d e d t o e l i m i n a t e i r r e g u l a r i t i e s o f form ;

* i t is

t h u s d o u b t f u l w h e th e r h i s s o n n e t v a r i a t i o n s ( o r m a d r i g a l s ) were in t e n d e d to be s e t to m u sic . H is m a d r i g a l s a o p e a r to h e p r i m a r i l y an e x p e rim e n t i n fo rm a l ly r ic v a ria tio n .

T h e i r i n t e r e s t l i e s i n t h e s u r p r i s e and change o f

em p h asis which comes from t h e v a r i a t i o n o f an a c c e p te d p a t t e r n .

Yet

to o o f t e n , th r o u g h t h e t r a n s f o r m a t i o n o f t i e r c e t s i n t o q u a t r a i n s , R o n s a r d ’ s m a d ri g a l so n e a r l y a p p r o x im a te s th e chanson o r s ta n c e t h a t i t becomes i n d i s t i n g u i s h a b l e from t h e s e fo rm s .

I n t h e s e c a s e s th e

m a d r i g a l l o s e s i t s o n ly d i s t i n c t i v e f e a t u r e and can no l o n g e r be c o n s i d e r e d a s a s e p a r a t e l y r i c form .

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

5.

O th e r F re n c h Examples and R e f e r e n c e s t o t h e M a d rig a l

R o n sard was n o t t h e o n ly p o e t t o e x p e r im e n t w ith t h e s o n n e t d u r i n g t h e 1 6 th c e n t u r y .

A v a r ia tio n o f th e r e g u la r p a t t e r n i s to

b e fo u n d i n t h r e e o f J e a n de B o y s s i e r e ’ s s o n n e t s , h o w ever, c a l l e d m a d r i g a l s .

54,

w hich a r e n o t ,

These e x p e r i m e n t s , u n l i k e t h o s e o f

R o n s a rd , m e re ly add a t i e r c e t o r a q u a t r a i n t o t h e r e g u l a r s o n n e t fo rm .

I n t h i s th e y f o l l o w t h e I t a l i a n ’ s o n e t t o c a u d a t o 9 r a t h e r

th a n R o n s a r d 9s m a d r i g a l.

The same may b e s a i d o f an e x te n d e d

s o n n e t e n t i t l e d ’m a d r i g a l ’ , which P i e r r e de Cornu i n c l u d e d i n h i s P r e m i e r L i v r e d e s Amours: L o rsq u e de vos b eau x yeux mon c o e u r n ' e s t o i t e s p r i s Bn s o u c i p a r e s s e u x l o g e o i t en ma p e n s e e ; Couard j e ne p o u v o is que d ’une v o i x c a s s e e Rendre c l a i r l e s u b j e c t de mes m o m es e s p r i t s . E s t a n t en c e s t e s t a t j e m’ a v o i s a m e s p r i s , S o i t que j ’ e u s s e s o u v e n t l a p o i t r i n e em b ra se e , S eulem ent j e p o u v o is d ’une p r o s e a b a i s s e e , E v a p o re r l ’ e s c l a i r du f e u q u i m’a v o i t p r i s . Des l o r s a u s s i que l ’h e u r d ’une h o m icid e lame E u s t , p o u r 1*amour de v o u s , e s p o u v a n te mon ame La muse v i n t s o u d a in q u i m’ a v o i t d e l a i s s l . A u s s i t o s t l ’ e s c a d r o n de l a t r o u p e c h e r i e , Vouant a mes d e s i r s s a s a i n t e p o e s i e , R ep eu t d ’un doux n e c t a r mon g o s i e r h a r a s s e d J e p r e n s d oncques de v o u s , ma g e n t i l l e m a i s t r e s s e , Non d ’a i l l e u r s s i j e s u i s t e l l e m e n t c a r e s s e , I m a g in a n t que c ’ e s t p a r v o s t r e s e u l e a d r e s s e . 55. I n form t h i s m a d rig a l e x a c t l y f o l l o w s t h e p a t t e r n o f t h e two s e v e n t e e n - l i n e s o n n e ts o f B o y s s i e r e s .

Y et i t was p r o b a b ly

R o n s a rd ’ s exam ple which l e d Cornu t o e n t i t l e h i s poem a m a d rig a l. A f r e e i n t e r p r e t a t i o n o f R o n s a rd ’ s m a d r i g a l may b e seen i n a • m a d r i g a l - a c r o s t i c h e ’ which J a c q u e s de Romieu i n c l u d e d among t h e s o n n e ts o f h i s Melanges i n 158 4.

The poem, s i m i l a r t o a ch an so n ,

i s composed o f a s u c c e s s i o n o f s t r o p h e s :

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

Madrigal

F L A M I N S

F a i r e 1 ' amour a l a dame L i b r e de l a cru au te'' A ia n t de sa douce fla m e M ain cte e t m a in c te p r i v a u t e : I I me sem ble q u 'e n ce mondeH ' e s t r i e n de p l u s g r a t i e u x ,

D

Lt cue tele amitie rouae Lore la. terre et les cieux.

E B I R A G U E

E t v o i l e comme E o n -h eu r (B ira g u e a t o u s r e d o u b t a b l e ; , J e u n e , s u i t la. b e l l e f l e u r REGI D' UNF MI. AFABLS A q u i t u l a i s s e s to n c o e u r Guide de g e n t i l e f la m e . Vi done t o u j o u r san s l a n g u e u r B o r is de t a be?J.e dame. 56.

T h is m a d r i g a l a p p e a r s t o t a k e i t s i n s p i r a t i o n from th e ch an so n s o f Ronsard r a t h e r th a n from h i s ex te n d e d s o n n e t s .

T here i s l i t t l e o f

t h e P e t r a r c h i s t im agery w hich i s c o n n e c te d w i t h b o t h s o n n e t and m a d rig al.

However, th e s h o r t s e v e n - s y l l a b l e l i n e may be an a t t e m p t

t o i m i t a t e t h e I t a l i a n fo rm . S i m i l a r i n form t o t h e poem o f Roraieu a r e tw o ' m a d r i g a l s ' which G i l l D u ra n t i n s e r t e d among h i s i m i t a t i o n s o f J e a n B o nnefons. e n title d

They a r e

'c h a n s o n s ' i n t h e p r i n c e p s e d i t i o n o f 1537, b u t t a k e t h e

name o f ' m a d r i g a l ' i n t h e e d i t i o n s o f 1583, 1595 and 1594: M a d rig a l Quand t o u s s e s t r a i t s Amour a u r a p e r d u s , P a r d e s e s p o i r q u ' i l ne se de - c o n .fo rte A ssez de t r a i t s d ed an s l e c o e u r j e p o r t e Qui l u i s e r o n t , quand i l v o u d r a , r e n d u s . Quand 1 'O cean a u r a t a r y s e s eau x , Que l e g ra v e L ieu de l a mer ne se f a s c h e : Assez de p l e u r s de mes deux yeux j e i a s c h e , P our l u y d r e s s e r m i l l e Oceans nouveau x.

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

Quand l e b o i t e u x f o r g e r o n Lemnien V e r r a son f e u e s t e i n t dedans s a f o r g e Q u * il v ie n n e i mo7 : ma p o i t r i n e r e g o r g e Dix r a i l l e f e u x p l u s a r d e n t s que l e s i e n . Que l e grand Roy d e s v e n t s tu m u ltu e u x ' Ne s o i t f a s c h e . S * i l p e r d o i t son e m p ire : I I s e r a Roy de ce que j e s o u p i r e . Ce s o n t d es v e n t s b i e n p l u s im p e tu e u x . 57. M ad rig al 0 d 'a m a n t e s t r a n g e f o r t u n e ? Mon p a u v re c o e u r e s t d e p u is peu Devenu c l o c h e t t e im p o r tu n e , Qui t o u s j o u r s sonne au f e u , au f e u . E t jo u r e t n u i t e l l e e s t b a ttiie D°un m a rte a u de s o u c i s a r d e n t s , Dont l e t i n t a m a r r e me tu £ E t m’ e s t o u r d i t t o u t a u d e d a n s. Dans l e c l o c h e r de ma p o t r i n e Amour l u y mesme l a cacha E t d ’ une b e l l e t r e s s e o r i n e Au l i e u de co rd e l ’a t t a c h a . Amour a u f e u sans c e s s e y sonne. On y v o i t chacun a c c o u r i r : H e la s ! l e s e c o u r s de p e rs o n n e Ne p e u t ma flSme s e c o u r i r . M ais v i e n t o s t , b e l l e ( s i to n arae F u t oncq a t t a i n t e de p i t i e ) E s t a i n d r e ce f e u q u i m’ enflam e D*un p eu d ' e a u de to n a m i t i e . 58.

U n lik e R o m ieu 's m a d r i g a l, t h e s e a r e composed w i t h a l l th e s ig h s and fla m e s o f P e t r a r c h i s t t r a d i t i o n . A more f a i t h f u l i m i t a t i o n o f Ronsard* s r a a d r i g a l - s o n n e t a p p e a r s i n t h i s f i f t e e n - l i n e m a d r i g a l o f F r a n c o i s Myron, i n c l u d e d among t h e i m i t a t i o n s o f G i l l e s D u ra n t: M a d rig a l S i t a b e a u t e , C h a r l o t t e , ' l* o n e s tim e E t s i to n nora v o le p a r l ’ u n i v e r s , S c a c h e s - e n g re a l ’ a u t h e u r de c e s v e r s Comrne a L * E s p r i t d o n t l a G l o i r e s ' a r r i m e . Ton l o s , p o r t e s u r l ' a i l e de s a r im e , S e r a d u r a n t' m i l l e s i e c l e s d i v e r s M aigre l a M ort, m a lg re I * a g e p e r v e r s , M alg re l e Temps q u i t o u t e s c h o s e s l i m e .

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

R eureuse t o y , d ' u n s i b e a u s o u i l e u r ! Mais l u y h e u re u x ! d ' a v o i r eu ce b o n -h e u r De r e n c o n t r e r une Dame s i b e l l e : Qui l e b l e s s a n t d 'u n e p l a y e m o r t e l l e , (Dont p lu s d 'h o n n e u r que d e sang i l v e r s a ) R e n d it d e s deux l a memoire e t e r n e l l e •^t de b l e s s e -" e t d ' e l l e q u i b l e s s s . 59.

Here t h e l a s t t i e r c e t i s tr a n s f o r m e d i n t o a q u a t r a i n , a s in R o n s a r d 's f i r s t e x p e r i m e n t s .

M oreover, Myron h a s used i n h i s

m a d rig a l one o f R o n s a r d 's f a v o r i t e th e m es, t h e im m o r t a l i t y con­ f e r r e d by a p o e t 's p r a is e . I n t h e e a r l y y e a r s o f t h e f o ll o w i n g c e n t u r y , t h e r e a p p e a re d a c u rio u s c o l le c t io n of m a d rig a l-so n n e ts, e v id e n t im ita tio n s of R o n s a r d 's m a d r i g a l s , by Denys F o r e t , la w y e r a t M oret n e a r F o n t a i n e b l e a u . They are sonnets augmented according to the following patterns:

1 . Two l i n e s a r e added t o t h e f i r s t o r second t i e r c e t , r im in g w ith one o f t h e two. f . ■ A l i n e i s added t o each t i e r c e t , rim in g w ith i t , and th u s two in d e p e n d e n t q u a t r a i n s a r e form ed. 5. A l i n e i s added to one o f t h e t i e r c e t s . 4-. An in d e p e n d e n t q u a t r a i n i s ad d ed b e f o r e o r a f t e r t h e t i e r c e t s . 61. A ll o f t h e s e p a t t e r n s a r e fou nd in R o n s a r d 's works o r could e a s i l y be d e r i v e d from h i s e x p e r i m e n t s . and c o n fu s e d

symbolism,

The m a d r i g a l s a r e f u l l o f o b s c u r e

and a r e o n ly i n t e r e s t i n g a s an i n d i c a t i o n o f

R o n s a r d 's i n f l u e n c e i n t h e b e g i n n in g o f t h e 17t h c e n t u r y . A n o th e r 1 7 th c e n t u r y m a d r ig a l a f t e r t h e p a t t e r n o f Ronsard i s founci i n t h e O euvres p o e t i o u e s o f t h e p r o v i n c i a l p o e t B e r n i e r de l a B r o u s s e , p u b l i s h e d i n P o t i e r s i n 1618:

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J ' a y veu to n O r i e n t a u d a c ie u s e C lo r e , Un m i - l u s t r e a c c o m p li p a r f a i t en t o u s s e s p o i n t s . J ' a y veu que c e s f r i s e z de t e s h e a u t e z e s p o i n t s A r r a c h o y e n t de l a main l e coffi*e de p&ndore. J ' a y veu que t e s b e a u x yeux l e s G o l e i l s que j ' a d o r e , A vecques ta p a r o l e a v id em en t c o n j o i n t s A pp rouvoyent mo d i s c o u r s , e t o u e lq u e . f c is d e j o i n t s , Me f r u s t r o y e t t o u t A coup du aoux f r u i t que j 'h o n o r e J ' a y v eu , m ais j ' a y p e rd u mon o b j e c t , e t t e s yeux, Ta g l o i r e , to n ho n n eu r; o r e s c o e u r v i c i e u x Tu me f a i s en r e g r e t c o n te m p le r ta. m i s e r e . Las I s i t u m 'e u s s e s c r u , t o u s j o u r s to n o e i l l u i s a n t Des I 1Aube e u s t e n l u s t r e n o s t r e H o ris o n p l a i s a n t Des p l u s r a r e s v e r t u s l a t r e s - r a r e e x e m p la ir e : M ais p o u r a v o i r a n cre”’ dan s un p o r t non d u i s a n t Tu es tombde es ma.ins d 'u n o u tr a g e u x C o r s a i r e . Fg.

The f i r s t f o u r t e e n l i n e s of" t h e m a d rig a l f o l l o w t h e r e g u l a r s o n n e t p a t t e r n , b u t two a d d i t i o n a l l i n e s a r e j o i n e d by rim e t o t h e second tie rc e t.

A ltho ug h t h e poem i s s i m i l a r t o a ' s o n e t t o c a u d a t o ' ,

i t s form and t i t l e were p r o b a b l y i n s p i r e d by R o n s a r d 's exam ple. Y et t h e s t r a n g e ja r g o n i n w hich i t i s w r i t t e n , w o rth y o f t h e P r e c i e u s e s R i d i c u l e s , c a n n o t b e a t t r i b u t e d to R o n s a r d 's i n f l u e n c e . I n a m a n u s c r i p t o f t h e Musee Conde a t C h a n t i l l y i s th e f o l l o w i n g i r r e g u l a r s o n n e t o r m a d r i g a l , which h a s b een a t t r i b u t e d t o M alherbe: M a d rig a l Ma C p i s a n t e , a v ec q une f o y Dont l 1age a t t e s t s 1 ' in n o c e n c e M'a f a i c t s e rm e n t q u 'e n mon a b s e n c e D l l e a u r a memoire de lvioy. C e s te f a v e u r cy peu commune Me donne t& n t de v a n i te " Qu'a. l a mesme d i v i n i t e J ' o z e com parer ma f o r t u n e . P e u l t e s t r e q u ' e l l e me d e c o i t De m 'a s s e u r e r que c e l a s o i t , Mais cy l e t i e n s j e v e r i t a b l e , P our me g u a r a n t i r du t r e p a s Qui me s e r o i t i n e v i t a b l e Sy j e c r o i o i s q u ' i l ne f u s t p a s .

F5 .

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

S in c e i t s o n ly i r r g u l a r i t y l i e s i n t h e rim e-schem e o f t h e q u a t r a i n s , t h i s m a d r i g a l - s o n n e t does n o t f o l l o w t h e example o f R onsard. I t i s c u r i o u s t o f i n d t h a t t h e two I t a l i a n m a d r i g a ls which O d et de l a «oue i n c l u d e d i n h i s Prim e Rime, d e d i c a t e d and s e n t t o A n to n io C o r v in i , a r e e x te n d e d s o n n e ts r e s e m b lin g th o s e o f R o nsard . The q u a t r a i n s a r e r e g u l a r ; t h e t i e r c e t s have b een r e t a i n e d i n t h e f i r s t m a d rig a l b u t a r e f o llo w e d by two l i n e s jo i n e d to them by r im e , and t h e m a d rig a l ends i n t h e t r a d i t i o n a l i n d e p e n d e n t r im in g c o u p l e t . The second m a d r i g a l i s a s o n n e t t o which an in d e p e n d e n t r im in g c o u p l e t h a s b een add ed , i n t h e manner o f t h e 1s o n e t t o c a u d a t o ' .

The poems

p r e s e n t a. c u r i o u s c o m b in a tio n o f t r a d i t i o n a l I t a l i a n m a d r i g a l ,

's o n e tto

r i t o r n e l l a t o ' and R o n s a r d 's s o n n e t - m a d r i g a l . Apart from the tradition of Saint Celais and Honsard, another

l y r i c com positon was b u i l d i n g up a h e r i t a g e upon which t h e 1 7 th century was to draw.

This was the epigram in all its forms, including

t h e t r a d i t i o n a l h u i t a i n and d i x a i n .

M a r o t 's e p ig ra m s , many o f which

w ere p a t t e r n e d on t h o s e o f M a r t i a l , w ere p r o b a b ly a l s o i n f l u e n c e d by t h e P e t r a r c h i s t s t r a m b o t t o . 64.

The i n f l u e n c e o f t h e epigram o r

d i x a i n made i t s l f f e l t on t h e m a d r i g a l a s e a r l y a s 1676, when Claude de P on to ux w ro te t h e two charm ing ' m a d r i g a l s ' ’which f o llo w : M a a r ig a le P ou r me s o u l l e r de pensemens d i v e r s J e vay c h e r c h a n t l e u l u s t o f f u b o c c a g e , En m'escartaut aux lieux les plus aesers, Cest antre coy m'en sent de tesraoignage;

Ce ro c chenu, e t ce b r u y a n t r i v a g e , Ce ch esn e c r e u x , e t ce v a s t e b u i s s o n , Ou m a m t e s f o i s j 'e sc o u te l a chanson

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

Du r o s s i g n o l p l a i s a n t e t a m ia b le . J e c h a n t e a u s s i , m a i 3 l a s , d ’un d i v e r s son: Le s i e n e s t g a y , e t l e mien p i t o y a b l e . 65. Madrigale.

Imit£ de Petrarque

L e s b e l l e s f l e u r s l e s rameaux p l a n t u r e a u x E t l ' a i r s e r a i n e t l ’h e r b e v e r d o y a n t e D onnent p l a i s i r aux je u n e s am oureux. L es a n t r e s c o i s , e t l ’ onde g a z o u i l l a n t e Donnent r e p o s en t e n e b r e p l a i s a n t e . L ’ ombre a u t e p s c h a u t d ’ une douce l i q u e u r Suavement a b b re u v e k m a in ts l e c u e u r . L ’a r c e s t p l a i s a n t e t l e v e n t b ie n so u v en t, M ais m’ e x d p t e r ne p e u v e n t de l a n g u e u r F l e u r s , rameaux, a i r , h e r b e , a n t r e , o n d e , ombre, a r c , v en t. 66. I n form t h e s e poems a r e d i x a i n s , s i m i l a r t o t h o s e o f M aro t, and have n o t h i n g i n common w ith t h e I t a l i a n m a d r i g a l o f t h e 1 4 th c e n tu ry .

T h eir in s p i r a t i o n i s d i f f i c u l t to t r a c e .

They have n one o f t h e s h a r p n e s s o f M a ro t’ s e p i g r a m s .

The

second i s a l l e g e d l y an i m i t a t i o n o f P e t r a r c h , and t o some e x t e n t re s e m b l e s h i s 2 6 9 th s o n n e t and h i s 1 7 th c a n z o n e . Y e t b o t h m a d r i g a ls a r e d e s c r i p t i v e , w ith none o f t h e im a g e s , p l a y s on w ords o r o t h e r a r t i f i c e s a f f e c t e d by P e tr a r c h .

They a r e n e a r e r t h e t r a d i t i o n a l

d e s c r i p t i v e s t y l e o f c e r t a i n p a s t o u r e l l e s . w i t h a new n o t e o f m e la n c h o ly ad ded a t t h e end. The a u t h o r w ro te i n h i s d e d i c a t o r y e p i s t l e t h a t a l l t h e v e r s e i n t h e G elo d ac ry e Amoureuse was intended t o b e sung:

J e s ca y b ie ^ q u e q u e lq u e s u n s e s t i m e r o n t mon o e u v r e a b j e c t e t v i l e , e t que j ’ e u s s e mieux f a i t d ’ e s c r i r e des Odes que d e s V a u d e v i l l e s , m a is j ’ e s ti m e r a y c e lu y b i e n h a b i l e homme q u i avec m e ille u r a r t i f i c e l e p a s s e r a , suyvant l e s u b j e c t que j ’ a y a p p r o p r i e a u c h a n t , n ' a y a n t i n s e r t i c y d ed an s que chose q u ’ on p u i s s e c h a n t e r e t to u c h e r s u r l a l y r e . 67.

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E v i d e n t l y he d i d n o t i n t e n d t h a t h i s v e r s e s h o u ld be accom panied by th e e l a b o r a t e m u s ic a l s e t t i n g o f t h e I t a l i a n m a d rig a l co m p o sers, b u t r a t h e r t h a t i t s h o u ld be sung by a s i n g l e v o i c e accom p anied by th e l u t e .

The m a d r i g a ls were i n no way s i n g l e d o u t , b u t m e r e ly

conformed t o a g e n e r a l r u l e t h a t a l l p o e t r y s h o u ld be accom panied by song. I have fo u n d no o t h e r F re n c h m a d r i g a ls w r i t t e n d u r in g t h e 1 6 th c e n t u r y , and t h e few w id e ly d i f f e r e n t exam ples we have seen can s c a r c e l y b e s a i d t o have e s t a b l i s h e d t h e m a d r i g a l a s a s i g n i f i c a n t form i n F ra n c e d u r i n g t h e 1 6 th c e n t u r y . F re n c h r e f e r e n c e s t o th e m a d r i g a l d u r in g t h a t c e n t u r y a r e n o t numerous an d show no u n ifo rm c o n c e p tio n o f t h e form . m en tio n ed n e i t h e r i n t h e A r t P o e t i o u e D effence.

I t is.

of S e b i l l e t n o r in th e

We have seen t h a t some o f t h e e a r l y r e f e r e n c e s may have

b e e n w r i t t e n w i t h th e I t a l i a n m a d r i g a l i n m ind.

W hile De l a N o u e 's

d i c t i o n a r y l i s t s th e F re n c h m a d r i g a l , he d e f i n e s o n ly th e I t a l i a n m a d rig a le .

63

*

La C ro ix du M a in e 's a s s e r t i o n t h a t A rn a u t

D a n ie l

w ro te 'M a r t e g a l l e s o r M a d r i g a l l e s ' 6 9 • shows t h a t he b e l i e v e d th e form was used i n P ro v e n c e , w ith o u t p r o v in g t h a t he knew a n y t h i n g o f a. t r a d i t i o n a l F ren ch m a d r i g a l .

I t was t h e com mentator o f

R o n s a r d 's e d i t i o n o f 1573 who f i r s t spoke o f th e m a d rig a l e x p l i c i t l y a s a F ren ch form : L 'a u th e u r a p p e lle m a d rig als l e s s o n e ts q u i o n t p l u s de q u a t o r z e i i g n e s , comme c e s t u i - c i q u i en a s e i z e . 70.

B u t n o t u n t i l t h e end o f th e c e n t u r y d i d i t t a k e i t s p l a c e i n an

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A rt P o e tic u e «

C u r io u s ly enough De La udun d ' A i g a l i e r s , who

d e s c r i b e d R o n s a r d 's m a d r i g a l , a p p a r e n t l y d id n o t know o f th e I t a l i a n t r a d i t i o n , f o r he b e l i e v e d t h a t Ronsard was t h e i n v e n t o r o f t h e form: J e croy que l e m a d r i g a l a e s t 6" i n v e n t s p o u r r n e ttr e en s e i z e ou q u in z e v e r s ce q u 'o n ne p o u v a i t r n e ttr e en q u a t o r s e . Coinme i l e s t a y s e de v e o i r p a r o e lu y c y - d e s s u s , a u q u e l i l n ' y a r i e n de s u p e r f l u . . . . 71. D eim ier added no more to t h e th e o r y o f th e m a d r i g a l i n h i s A.rt P o e t i q u e , form s.

75 .

where he m e re ly m e n tio n ed i t i n a l i s t o f o t h e r These rare and fragmentary references show that little

was known of the madrigal in France at the time. 6. Conclusion.

As with the musical form, a knowledge of the Italian p o e t i c m a d rig a l d i d n o t s t r a y f a r a f i e l d from t h e g r e a t c e n t e r s o f I t a l i a n i n t e r e s t , more e s p e c i a l l y from Lyon, and i t s i n f l u e n c e was n e i t h e r wide n o r d e e p .

We a r e l e d t o V ianey*s

conclusion with regard to the Petrarchists:

I I y e u t done, chez nos p e t r a r q u i s t e s du XVle s i e c l e , en m a t i e r e de v e r s i f i c a t i o n , une v e r i t a b l e c o n s p i r a t i o n d ' e f f o r t s po ur s a u v e g a r d e r l ' o r i g i n a l i t e ' du g e n ie f r a n ^ a i s c e n t r e l a t y r a n n i e de 1 ' i n f l u e n c e i t a l i e n n e , e t nous v e r r o n s que ce ne f u t p a s s e u le m e n t en v e r s i f i c a t i o n que l e gout, f r a n c j a i s , o po osa d e s r e s i s t a n c e s a 1 ' i n v a s i o n : du g o u t d 1o u t r e m o n t s . 72 . The same independence was noted by M. “'ind with regard to the

b o rro w in g o f w ords.

He rem arked upon:

l a rep u g n an c e q u 'e p r o u v e n t l e s t h e o r i c i e n s de 1 'epoq ue a e m p ru n te r d e s m ots aux a u t r e s v u l g a i r e s . 74. Brunot further elaborated on such resistance, with

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53.

special reference to Italy!

Sans d o u te l ' l t a l i e n n ' e u t ja m a is s u r l e s homnies de l e t t r e s un a s c e n d a n t £ g a l ^ c e l u i du l a t i n . . . une j a l o u s i e n a t i o n a l e , q u i p a r u t de bonne h e u r e , empecha de r e c o n n a l t r e sa s u p e r i o r i t e " . . . 1 ' i t a l i a n i s m e a eu b eau c o u p p lu s d ' a d v e r s a i r e s que de d e 'f e n s e u r s .

7 5.

I t i s t h u s i n a c c o r d a n c e w ith a g e n e r a l te n d e n c y t h a t th e m a d r i g a l was r a r e l y m e n tio n e d by t h e o r i s t s and t h a t p o e t s seldom gave t h a t t i t l e to t h e i r v e rs e .

Even when a d o p t in g t h e t i t l e , F re n c h p o e t s

m a in ta i n e d t h e i r in d e p e n d e n c e b y c r e a t i n g new form s o r t y p e s o f form al v a r i a t i o n .

S a i n t C-e l a i s a l o n e a p p e a r s t o have p a t t e r n e d

h i s m a d r i g a l d i r e c t l y on

I t a l i a n m o d e ls,

Those o f Ronsard and

h i s s c h o o l and o f Claude de P o n to u x a r e an in d e p e n d e n t F re n c h c r e a tio n - o r e x p e r im e n t i n l y r i c form . I t i s d i f f i c u l t t o u n d e r s t a n d why t h e m u s ic a l m a d r i g a l f a i l e d t o p a s s i n t o F ra n c e a t a tim e when i t was e n j o y in g i t s g r e a t e s t p o p u l a r i t y i n -‘- t a l y ; on t h e o t h e r hand i t i s f a r e a s i e r t o u n d e r s ta n d why I t a l i a n l i t e r a r y m a d r i g a l s met w ith so l i t t l e success.

U nable t o p e n e t r a t e i n t o F ra n c e th r o u g h t h e m u s ic a l

accompaniment which was t h e i r d i s t i n g u i s h i n g f e a t u r e , t h e f i r s t l i t e r a r y m a d r i g a l s had l i t t l e

i n th e m s e lv e s t o a r r e s t a t t e n t i o n o r

t o s e t them a p a r t i n any b u t a f o r m a l way from t h e s o n n e t .

S im ila r

t o th e s o n n e t i n c o n t e n t , t h e y d i f f e r e d o n ly by t h e freedo m o f form which t h e y p e r m i t t e d . L ik e t h e I t a l i a n m a d r i g a l o f t h e e a r l y 1 6 t h c e n t u r y , R o n s a r d 's e x p e r im e n t was e s s e n t i a l l y an a t t e m p t to b r i n g new freedom i n t o a ty p e o f l y r i c e x p re s s io n .

The f a c t t h a t h i s m a d r i g a l t o o k t h e form

o f a s o n n e t d i s t o r t e d t o a p p r o x im a te t h e s t r o p h i c d i v i s i o n i s

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i n d i c a t i v e o f th e whole t r e n d o f a c e n t u r y d o m in ated by t h o s e two p a t t e r n s .

U n lik e t h e I t a l i a n c o m p o s itio n , t h e s e m a d r i g a ls

were n o t accom panied by m usic and th e y added n o th i n g e s s e n t i a l , e i t h e r i n c o n t e n t o r e x p r e s s i o n , to t h e s t r o p h e o r s o n n e t .

In

t h i s we may f i n d t h e p r o b a b l e e x p l a n a t i o n f o r t h e i r l a c k o f s u c c e s d u r i n g t h e 1 6 th c e n t u r y .

The s o n n e t s a t i s f i e d p e r f e c t l y t h e d e s i r

o f F r e n c h p o e t s f o r P e t r & r c h i s t e x p r e s s i o n i n a. form o f v e r s e c o n s e c r a t e d by P e t r a r c h .

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60.

Chapter III

The Development of the French Madrigal, in the 17th Century under

I t a l i a n In flu e n c e A f t e r a r a p i d su rv e y o f F re n c h p o e t i c h i s t o r y , one g a i n s t h e somewhat e x a g g e r a t e d im p r e s s i o n , a s M. Vagansy h as re m a rk e d , t h a t th e 1 6 th c e n t u r y was th e c e n t u r y o f t h e s o n n e t and t h e 1 7 th c e n t u r y t h a t o f t h e m a d r i g a l . ■*" ^ 0 a v ie w .

. „ , ,. „ , t h e r e i s some f o u n d a t i o n f o r such

C e r t a i n l y , th e 1 7 th c e n t u r y d oes n o t mark an a r b i t r a r y

p e r i o d i n t h e l i f e o f th e F re n c h m a d r i g a l , f o r i t saw t h e b i r t h and r i s e t o fame o f a new form which had l i t t l e i n common w ith t h e u n s u c c e s s f u l s o n n e t - v a r i a t i o n o f t h e 1 6 th c e n t u r y . R o n s a r d 's m a d r i g a l d i d n o t s u r v i v e th e c e n t u r y o f t h e s o n n e t . The i m i t a t i o n s o f Benys F e r e t , t o w hich J a c q u e s M a d e le in e f i r s t c a l l e d a t t e n t i o n , may be d i s r e g a r d e d a s l i t e r a t u r e , f o r t h e i r e x a g g e r a t i o n s and p e c u l i a r i t i e s o f th o u g h t and la n g u a g e b ra n d t h e i r a u t h o r a s an e c c e n t r i c w it h o u t l i t e r a r y t a l e n t and one a p a r t from th e main l i t e r a r y s tre a m o f h i s tim e .

The P o i t e v i n p o e t

B e r n i e r de l a B ro u s s e was s i m i l a r l y i s o l a t e d , G u illau m e C o l l e t e t w r i t i n g o f him: I I ne s o r t i t ja m a is de sa p r o v i n c e , a u s s y l u i m a n n u a i t - i l un c e r t a i n a i r de c o u r . S. The s t r a n g e la n g u a g e o f h i s m a d r i g a l i s p r o o f o f h i s p r o v i n c i a l i s m , and th e poem i s i n t e r e s t i n g o n ly a s an i n d i c a t i o n o f R o n s a r d 's i n f l u e n c e i n t h e 1 7 th c e n t u r y . The t r a n s i t i o n betw een t h e m a d r i g a l o f t h e 1 6 th c e n t u r y

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and t h a t o f t h e 1 7 th c e n t u r y was d e s c r i b e d b y E s p r i t A u b e r t. S t i l l o f t h e 1 6 th c e n t u r y , he w ro te : Le s o n n e t e s t a u j o u r d 'h u y l a p l u s fre ^ iu e n te e s p e c e de P o e s i e . 3. and d e v e lo p e d a t some l e n g t h t h e t h e o r y o f R o n s a r d ’ s m a d r i g a l : M a d rig a l e s t quand un ou deux . . . v e r s s o n t a d j o u s t e z a u s o n n e t, se t r o u v a n s de mesme rythm e que l e d e r n i e r Q u a tra in . . . 4. To i l l u s t r a t e h i s w ords, h e q u o te d two o f R o n s a rd ’ s poem s.

Y et

he add ed t h a t t h e r e 'was a n o t h e r ty p e c u r r e n t " e n t r e l e s m o d e m e s ” g i v i n g a s exam oles a number o f m a d r i g a l s w hich Ronore d ’ Erfe" 5. i n s e r t e d i n t h e f i r s t p a r t o f I 1A s t r e e . A lth o u g h R o n s a r d 's m a d r i g a l seems t o h av e f a l l e n i n t o co m p lete d i s u s e a f t e r t h e f u t i l e a t t e m p t s o f F e r e t an d B e r n i e r de l a B r o u s s e to r e v i v e t h e form , i t s e x i s t e n c e was n o t e n t i r e l y fo rg o tte n .

G uillaum e C o l l e t e t a c c e p te d i t a s a l e g i t i m a t e f o r a

o f t h e m a d r i g a l , d e p r e c a t i n g any c o n f u s io n b etw ee n i t and t h e s o n n e t: Mais j e ne p u i s m’ em pescher de r a p p o r t e r e n c o r e i c y une ch o s e q u i n e m’ a p a s a u t r e f o i s mo i n s s u r p r i s . C’ e s t que Remy B e l l e a u q u i e s t o i t un d e s p l u s e x c e l l e n s e t d e s p l u s r e g u l i e r s P o e t e s de son s i e c l e , d a n s s e s Cominentaires s u r l e s s e c o n d e s Amours de P i e r r e de R o n s a rd , confond s o u v e n t l e M a d rig a l a v ec q u e l e S o n n e t, comme s u r ce M a d rig a l q u i commence, Mon d o c te P e l l e t i e r , l e temps l e g e r s ’ e n f u i t , I I d i t que l ’A u th e u r a d r e s s e ce s o n n e t a J a c q u e s P e l e t i e r du Mans, quoy q u ’ en e f f e t ce s o i t un m a d r i g a l de 16 V e rs A le x a n d r i n e , e t non p a s un s o n n e t de 14 v e r s . E t en commentant e n c o r e l e M a d r ig a l p r e c e d e n t , i l d i t en te rm e s e x p r e s , que ce S o n n e t e s t f o r t a i s e a e n t e n d r e . N’ e s t - c e p o i n t q u ’ i l

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

a p a r l e en c e l u s e lo n l e s e n ti m e n t de q u e lq u e s P o e t e s - L ta lie n s q u i o n t compose'' d e s s o n n e t s de 15 ou 16 V e rs , qu*Antonio da Tempo a p o e l l e i l s o n n e t t o con r i t o r n e l l o , sonnet avec l e re n v o y ou l a r e p r i s e ? 6. C o tin l i k e w i s e knew o f i t s e x i s t e n c e , d e s c r i b i n g i t a s a ’f r e e 1 form i n t h e f o l l o w i n g te rm s : C e t t e i n e g a l i t e ' ou c e t t e l i b e r t e ' de v e r s i f i e r M a d r ig a lle rn e n t, a p asse' dans l e s r i m e s , i l y en a o u e l q u e f o i s 5 d.e p a r e i l i e s , e t o u e l q u e f o i s p l u s . R onsard a f a i t o r d i n a i r e m e n t s e s M adrigaux de 15 ou 15 v e r s , d o n t l e h u i c t a i n e s t a l a f a c o n d e s s o n n e t s , e x c e p te l e s r i m e s , q u i s o n t q u e l q u e f o i s t o u t e s s e m b la b le s e t non p as m e sle'es, t o u t e s f e m in in e s ou t o u t e s m a s c u l i n e s . M uret e t B e l l e a u , q u i o n t commente' ce g rand P o e t e , c o n fo n d e n t l e S onn et e t l e M a d r ig a l , e t n ' o n t r i e n d i t de c u r i e u x . 7 . At t h e end o f t h e c e n t u r y , one o f R o n s a r d 's m a d r i g a l s , ' S i c ' e s t a i m e r , Madame, e t de j o u r e t de n u i t ' , a p p e a r e d i n a R e c u e il C o l l e c t i f ,

b u t i t s p r e s e n c e t h e r e i s p r o b a b ly

due t o a p a s s i n g whim r a t h e r th a n t o any g e n e r a l r e v i v a l o f i n t e r e s t i n t h e form which Ronsard had c r e a t e d . As f o r S a i n t G e l a i s ’ m a d r i g a l i n ' v e r s l i b r e s ' , i t had n e v e r had a f o l l o w i n g .

The ' v e r s l i b r e 1 i t s e l f was r a r e l y u sed by

o t h e r F re n c h p o e t s d u r in g t h e 1 6 th c e n t u r y , a n d n e v e r i n m a d r i g a l s . E x c e p t f o r t h e few s h o r t poems which B a i f i n s e r t e d i n h i s Amours d i v e r s e s , t h i s ty p e o f v e r s e a p p e a r s t o have f a l l e n i n t o d i s u s e i n t h e 1 6 th c e n t u r y . S in c e t h e m a d r i g a l had n o t become e s t a b l i s h e d a s a s i g n i f i c a n t form o f e x p r e s s i o n i n F r a n c e d u r in g t h e 1 6 th c e n t u r y , t h e p o e t s o f t h e 1 7 th c e n t u r y had no t r a d i t i o n a l F ren ch p a t t e r n t o f o l l o w , and c o u ld c r e a t e t h e i r own form .

E v i d e n t l y t h e h a l f - f o r g o t t e n e x p e rim e n t

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o f Ronsard was n o t t o s e r v e a s model f o r t h e 1 7 t h c e n t u r y . I t a l i a n m a d r i g a l , on t h e o t h e r h and , had much t o o f f e r . was a lo n g and r i c h t r a d i t i o n .

The

B ehind i t

O r i g i n a l l y c o n n e c te d w ith m u s ic , i t

had g r a d u a l l y f r e e d i t s e l f from m u s ic a l accom panim ent. any s u b j e c t , from p a s t o r a l t o b u r l e s q u e .

I t c o u ld t r e a t

The m a d r i g a l ' s h i s t o r y had

b een c l o s e l y l i n k e d w i t h t h e d evelopm ent o f p o e t r y i n I t a l y f o r a c e n t u r y , i n i t s t r a n s f o r m a t i o n from P e t r a r c h i s m t o t h e manner o f M arino.

M oreover, i t h ad been a c c e p te d by t h e g r e a t e s t c o n te m p o ra ry

I t a l i a n p o e t s , who had p ro d u c e d th e m odels w hich c o u ld s e r v e t o c r e a t e a new m a d rig a l i n F r a n c e .

I t h ad lo n g b e e n a c c e p te d i n I t a l i a n

Academies and s a l o n s , whose members c o u ld h e l p t o i n t r o d u c e t h e I t a l i a n model i n t o F r a n c e . The m a d r ig a l c o u ld b e c a r r i e d d i r e c t l y t o F r a n c e by I t a l i a n s l i v i n g and t r a v e l i n g t h e r e .

Lyon v/as s t i l l a c e n t e r o f I t a l i a n c u l t u r e

and a p o i n t o f c o n t a c t betw ee n t h e two c o u n t r i e s .

I n P a r i s , M a rie de

M e d ic is had su rro u n d e d h e r s e l f w ith c o m p a t r i o t s and welcomed I t a l i a n s a t h er c o u rt.

Under M a z a r in , t h e s tre a m o f I t a l i a n v i s i t o r s t o

F ra n c e c o n t in u e d .

With h i s p r o t e c t i o n , many r e c e i v e d i m p o r t a n t p o s t s

a t t h e c o u r t o r , l i k e s e v e r a l o f t h e D e m o is e lle s M a n c in i, h i s n i e c e s , e s t a b l i s h e d th e m s e lv e s p e r m a n e n tly i n F r a n c e .

Madame de R a m b o u ill e t,

whose s a lo n v/as to s e t t h e to n e o f s o c i e t y d u r i n g t h e f i r s t y e a r s o f t h e c e n t u r y , was by b i r t h h a l f I t a l i a n .

B o m i n Rome i n 1588 ,

d a u g h t e r o f a Roman p r i n c e s s , J u l i a S a v e l l a , and o f J e a n de V ivonne, m a rq u is de P i s a n y , t h e M arq u ise d id n o t become a n a t u r a l i z e d F re n c h c i t i z e n u n t i l 1594.

She m a in ta i n e d h e r c o n t a c t s w ith I t a l y d u r i n g t h e y e a r s

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t h a t she r e i g n e d o v e r t h e H o te l de R a m b o u ill e t. I n such c e n t e r s o f i t a l i a n i n t e r e s t t r a v e l e r s from I t a l y 7te re

welcome.

Not t h e l e a s t o f t h e s e was t h e well-knoYm p o e t and

a u t h o r o f m a d r i g a l s , M arino .

M arie de Meclicis in d u c e d him t o come

t o P a r i s i n 1 61 5, where he re m a in e d , d raw in g a r o y a l p e n s i o n , u n t i l 1622.

S t r a n g e l y enough, l i t t l e

i s known o f h i s a c t i v i t i e s d u r i n g t h a t

p e r i o d o r o f h i s r e l a t i o n s w ith t h e l i t e r a r y men o f t h e t i m e .

9•

T h ere i s no f o r m a l p r o o f t h a t he e v e r to o k p a r t i n t h e a c t i v i t i e s of the Hotel de Rambouillet or that he was ever received by the

M a rq u is e .

I t h a s b een s u g g e s te d t h a t h i s c h a r a c t e r and t h e s e n s u a l i t y

o f his verse were scarcely such as to win the esteem of Madame de R a m b o u ill e t.

'L0‘

Y et r e c e n t s t u d i e s o f th e s a l o n and i t s m i s t r e s s

show h e r i n a more human l i g h t th a n h e r e t o f o r e

and she may w e ll

have g iv e n M arino, t h e t r a v e l e r from h e r n a t i v e l a n d , a t l e a s t a f l e e t i n g welcome. It was not only through such travelers, however, that

I t a l i a n m a d r i g a ls became known i n F r a n c e .

In th e e a r l y p a r t of

t h e c e n t u r y , many o f t h e s e poems were t r a n s l a t e d i n t o F r e n c h . A p p a r e n tl y t h o s e o f G u a r in i were m ost p o p u l a r , f o r G o u je t l i s t s two separate translations:

Les M adrigaux amoureux du Ca v a l i e r G u a r i n i , mis d ' l t a l i e n en v e r s F r a n c o i s p a r n o b le A n to in e de Gj.r.au(3 ^ L y o n n o isj a l a s u i t e de s a t r a d u c t i o n en v e r s du P a s t o r f i d o , a P a r i s , 16?.5, i n - 1 2 . and: Les Madrigaux amoureux du Cavalier Guarini,

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A u te u r du P a s t o r f i d o , t r a d u i t s d ' i t a l i e n en chez G u il l a u m e ’de ■ Lju y n e s , 1664, i n - 1 2 . 1 2 .

vers Francois p a r M.P. a P a r i s ,

Of t h e s e , t h e second i s by f a r th e b e s t .

I n d e d i c a t i n g h i s work

to Mme. de Guedreville, the translator, Antoine Picot, wrote thus

o f G u a r in i: J e ne p o u v o is o f f r i r q u ' a Vous s e u l e , pour a v o i r q u e lq u e recom m andation, l a t r a d u c t i o n du p l u s d e l i c a t , d mon gre", de t o u s l e s I t a l i a n s •









l a b o n te d e s M adrigaux du C a v a l i e r G u arin q u i o n t m e r i t e ’ en l e u r la n g u e l ' e s t i m e g e h e P a le de t o u s l e s b eau x E s p r i t s . 13.

The c o l l e c t i o n c o n t a i n s 143 m a d r i g a l s , b e s i d e s s o n n e t s , s t a n c e s and o t h e r fo rm s , a l l w o rth y o f t h e e p i t h e t 'a m o u r e u x '.

I t m ust

have had c o n s i d e r a b l e s u c c e s s , s i n c e t h e f o ll o w i n g y e a r seven o f G u a r i n i ' s m a d r i g a ls a p p e a r e d m t r a n s l a t i o n s i n a R e c u e il C o l l e c t i f . T r a n s l a t i o n s were n o t n e c e s s a r y , how ever, i n o r d e r t o i n t r o d u c e t h e form i n t o F r a n c e , f o r many F re n c h men o f l e t t e r s knew I t a l i a n and m a in ta i n e d r e l a t i o n s w ith I t a l y th r o u g h which th e y were a b l e to come i n t o d i r e c t c o n t a c t w ith t h e I t a l i a n m a d r i g a l .

Honore d'U rfe",

whose m a d r i g a l s , i n s e r t e d i n l ' A s t r e e , a p p e a r t o b e t h e f i r s t o f t h e ty p e w hich was to f l o u r i s h i n F r a n c e i n th e 1 7 th c e n t u r y , was c l o s e l y c o n n e c te d w ith I t a l y .

H a lf I t a l i a n on h i s m o t h e r 's s i d e , he

was r e a r e d i n F o r e z , where t h e I t a l i a n t r a d i t i o n was s c a r c e l y l e s s s t r o n g th a n a t Lyon. were w e l l r e p r e s e n t e d .

I n th e l i b r a r y o f th e d 'U rfe '' t h e I t a l i a n p o e t s H o n o r e 's f r e q u e n t s t a y s i n P iedm o nt

and h i s r e l a t i o n s w ith th e c o u r t o f T u r i n k e p t him i n c l o s e c o n t a c t w ith I t a l y a l l d u r i n g h i s l i f e .

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66.

Ano nr 'the. men of1 le tte r '.' lor..' cl. ore ty c o rr ected YC-fn I t a l y by l i r t h or r o a r in g . n e c e ssity . jv I o n s .

2

kiiovledge o f I t a l i a n r;*5r o f t e n a s o c i a l

At th e c o u r t , a t th e Hotel de F .am bou rllet end i n o t h e r

I t a l i a n was a f a m il ia r language and I t a l i a n "r' r s e ’v 1 read .

I t :,s r to oIea.sc th e y ounr H i l o . d'-; l a Vergncn i n t e r 00 become ?hr-e. oe l a F a y e t t e , t h a t Henuge s tu d ie d t h e la n g u a g e , l a t e r ce-iv-osino I t a l i a n v e r s a so sue cos-."full v t h a t ' h e , oe l a F a y e t t e r'Ui;.b''ded a ' : o f h i a d e b t to h e r : Cola e a t su rer errant cue vovs f a r c i e s dee vere I t a l i enc comma vous en f u i t t e s Gouvcr;es vous si.l you a n lc.it cue e ’ e s t a raoy a ony vous d e w s t o r t c l a g l o i r e c u i vous r e v i e n t da c e t t e langur e t one ce f u s t oour me p l& ir e cue vour- vous m ites "■ le e fu d io .r du ie-nscc cue vous m' ayooi.e3 slu e ore v r ’U 1 r- f c i t i e s a c e t t e h ou rc, 1 6 . - T ogeth er I'cnoge and ’.'me. de l a F a y e t te read T a s s o ’ s 17. Amint-a and G u a r i n i 5s P a s t o r F i d o , and d o u b t l e s s o t h e r IIfilia n v erse.

H is mast-ory o f th e la n g u a g e l a t e r p e r m i t t e d

Hericge to c u t e r i n t o .w-nfa e t - j.th the f-nr.ous F l o r e n t i n e Accademia del l s . Cruses,. rdth who:-'.- rr-eraberr he corresponded 18. a t l e n g t h conoeo'ning t h e Ami n t o. which he van —••ei'W' t i n g . • He : I s o tr a v e le d e x t e n s i v e l y in I t a l y , a d d r e s sin g uunercvr. 19. l e t t e r s in I t a l i a n to H lle„ de la. V r y u . A.P'ong au th ors o f c r i t i c a l works r o l e t i n g to th e m a d rigal, a knovled.ro o f ih-.: I t a l i a n form v'-s much mo:'-. '1 desr-read than. in t-hc 1 6 th Centura . and v : : o f te n s u r p r i s i n g l y a—c u r a t e .

The

?C.

h '- o llo a o f Iense-Du.oui.Sj

in which ha d i s c u s s e d th e I t a l i a n and

S p a n is h m a d r i g e l , shows t h a t lie knew t h e works n o t o n ly o f contempor-'-ry ma. l.r ig c l w r i t o r s , h u t a l s o o f t h o s e o f t h e 1 4 th c e n t u r y , and t h a t t o was a c p u -lu te c i w ith th e

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

t h e o r i e s o f da Tempo, Dolce and C o v a r r u b ia s .

Marino and G u a r in i

w ere t h e a u t h o r s he m ost adm ired:

l e s c a v a l i e r s M arin e t G u a r in , q u i s a n s c o n t r e d i t o n t s u r p a s s e t a n t l e s a n c i e n s que l e s modernes en ce g en re d ’ e s c r i r e . 21. He q u o te d two o f G u a r i n i 5s d i a l o g u e s i n m a d r i g a l form and f o u r o f h i s m a d r i g a l s , among them th e m u c h -i m i ta te d " T i r s i m o r i r 22 v o le a ". He a l s o i n c l u d e d one o f M a rin o 5s m a d r i g a l s and two

.

by T a s s o .

I n th e m a t t e r o f form , he s e t do?m

no f i x e d r u l e s :

Le M a d rig a l e s t compose de v e r s e n t i e r s e t Rompus, e t en p e u t r e c e v o i r t e l nombre q u fi l p l a i r a au P o e te l u y d o n n e r, i l e s t v r a y que l e s p l u s c o u r t s s o n t e s tim e z l e s m e i l l e u r s . 25. W ith r e g a r d to t h e S p a n is h m a d r i g a l, he c o n c lu d e d : . . . Les E s p a g n o ls p r a t i q u e n t peu c e t t e s o r t s de c o m p o s itio n , p a r c e qu.5i l s o n t l e u r s c o u p l e t s q u i p e u v e n t f a i r e l a mesme o f f i c e . 24. The l e a r n e d Menage c o n t r i b u t e d f u r t h e r t o a knowledge o f th e I t a l i a n m a d rig al.

A d i s c u s s i o n o f th e word a p p e a r s i n Les 25. O r i g i n e s de l a la n g u e f r a n c o i s e , and i s f u r t h e r e x te n d e d i n ~ 3~ pp. Le Q r i g i n i d e lla . L in gua I t a l i a n s t o i n c l u d e a re'sum^ o f Bem bo's th e o ry o f o r i g i n .

He a l s o a p p e a r s to have b e e n w e l l a c q u a i n t e d

w i t h th e co n tem p o rary m a d r i g a l , c u o t i n g ex am ples b y Marino 27. and G u a r i n i . C o tin s c a r c e l y m entio ned th e 1 4 th c e n t u r y form , b u t s a i d o f th e c o n tem p o rary m a d ri g a l: Son c a r a c t e r e e s t d 5e t r e b r e v e , s .c u t o . f r i s z a n t e , comme d i t q u e l q u 5un s u r l e M a s s i n i . . . . Le m a d r i g a l chez l e G u a rin , chez l e T a s s e , chez l e C h e v a l ie r M arin , ou i l y en a p e u de d ev o tio n , e s t presque t o u t pour l a g a l a n te r i e , e t p o u r l e s Dames. 28.

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68.

R i c h e l e t a l s o c i t e d t h e l a s t two p o e t s a s model w r i t e r s o f m a d rig a ls.

99



A lthough iSense-D upuis quoted poems o f P r e t i ,

S a c c h e t t i , S t i g l i a n i and S an n aza ro •z°* and C o tin m e n tio n e d th e G areggiam ento P o e t i c o and such a u t h o r s a s G r i l l e and F e r r e t - t i , t h e names o f M arino, GU;iri n i and T asso c o n s t a n t l y a p p e a r . ■A p p a r e n tly t h e s e t h r e e a u t h o r s were n o t o n ly ad m ired from a f a r , b u t became th e models o f t h e F re n c h w r i t e r s who i n t r o d u c e d t h i s ty p e o f v e r s e i n t o t h e i r c o u n t r y .

D’U rfe may have b een i n f l u e n c e d

by th e form o f L 1Aminta and I I P a s t o r F i d o , b o th o f w hich were l a r g e l y composed o f f r e e v e r s e , when he in t r o d u c e d t h e m a d rig a l i n ’v e r s l i b r e s ’ i n t o 1 ’A s t r e e .

T here i s l i t t l e d o u b t t h a t h i s

m a d r i g a ls were p a t t e r n e d on I t a l i a n m odels, f o r , a s we have s e e n , t h e u se o f t h e ’v e r s l i b r e ’ had p r a c t i c a l l y d ie d o u t i n F r a n c e . M oreover, a number o f t h e m a d r i g a l s i n L ’A s tr e e a r e e v id e n tly i n s p i r e d by p a s s a g e s from th e t h r e e much-admired n o e t s , M arino, G u a r in i and T asso .

In some c a s e s t h e p a r a l l e l s a r e c l o s e , a s i n

th e M a d rig a l s u r l a F r o i d e u r d ’A m a r i l l i s . 7p

" K ile a l e c o e u r de g la c e

et les yeux tous de flamme",’,“* £n imitation of Guarini’s well•Z *7

Oo known and o f t e n i m i t a t e d S ta n z a d ’Amore, t r a n s l a t e d i n th e .

e d i t i o n o f 1664 as f o l l o w s : Le S ie g e d ’^mour.

M a d r ig a l

Amour, ou n i c h e s - t u ? d a n s l e fond de mon c o e u r Ou dans l e v i s a g e v a i n q u e u r De l a p l u s ch arm ante d e s f i l l e s ? S i j e m’a r r e s t e aux f la m e s d o n t tu b r i l l e s J e t e v o i s t o u t e n t i e r au m i l i e u de mon ame

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Ah I s i t u f i s ja m a is d e s s e i n De f a i r e v o i r en nous t a p u i s s a n c e p a r f a i t t e , Change d e s o r m a is de r e t r a i t t e E n t r e moy dan s l e s yeu x, e t t e m ets dan s son s e i n . In o t h e r c a s e s , he h a s m e re ly borrow ed a theme from h i s m odel, a s i n th e m a d rig a l Qu8i l ne d o i t p o i n t e s p e r e r d 8e s t r e aim e, 55. "P enson s n o u s en l ’a i m a n t " , w hich c o n t a i n s an a l l u s i o n t o ’L ’ i n c o n s t a n t e a r e n e 8 t h a t co u ld have b een i n s p i r e d e i t h e r by t h e s e l i n e s o f t h e D iana o f Montemayor: S obre e l a r e n a s e n ta d a de a q u e l r i o l a v i yo do con e l dedo e s c r i b i o : " a n t e s m u e rte que mudada". M ira e l amor l o que o r d e n a . Que o s v ie n e h a c e r c r e e r c o s a s d i c h a s p o r m u jer y e s c r i t a s en e l a r e n a . 36. o r by t h e f o ll o w i n g poem o f Marino: M a d r ig a le XLIII Fede R o t t a S o v ra l 'h u r a i d a a r e n a De l a l a t i n a sponde Di p r o p r i a man T h i r r e n a Dn d i s c r i v e r v i d ’ i o : M i r t i o e s o l l 8amor mio. Ahi f u ben degna d i s i f r a l p a r o l o C ru d e l I 1a r e n a s o l a ; onde pox 1 ' onde E d e l t e b r o i n un p u n to , e de l * o b l i o M i r t i o , c h * e ra i l t u 8 amore R a d e s s e ro d a l l i d o o d e l suo c o r e . 37. Not a l l o f d 8U r f e 8s m a d r i g a l s were i n s p i r e d d i r e c t l y by I t a l i a n m ad rig al v e r s e .

Sometimes p a r t

o f a l a r g e r work o f f e r e d t h e model he was t o f o l l o w , a s i n t h i s f o u r - l i n e poem: E l l e f u i t e t f u y a n t e l l e v e u t qu*on l ' a t t a i g n e : R e f u s e , e t r e f u s a n t v e u t q u 8on l 1a i t p a r e f f o r t : Combat e t c o m b a tta n t v e u t q u 8on s o i t l e p l u s f o r t : C ar a i n s i son hon neur o rdo nne q u ’ e l l e f e i g n e . 38.

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Here he h a s m e re ly c a rv e d f o u r l i n e s o u t o f th e A m inta: Or non Fugge, N ie g a , Pugna,

s a i com’ e f a t t a l a donna? e fuggendo v u o l , che a l t r i l a g iu n g a j e negando v u o l , c h * a l t r i s i t o g l i , e pugnando v u o l , c h !a l t r i l a v i n c e » 39.

Thus d 'U r f e 1 a p p e a r s t o have made f u l l u s e o f t h e d i v e r s i t y o f form p e r m i t t e d i n t h e I t a l i a n m a d r i g a l .

Even poems which

w ere n o t d i r e c t l y p a t t e r n e d on I t a l i a n m a d r ig a l v e r s e c o r re s p o n d e d t o th e I t a l i a n c o n c e p tio n t h a t t h i s was a f r e e fo rm w hich n eed f o ll o w no s e t r u l e s . The F ren ch m a d ri g a l was n o t o n ly o r i g i n a l l y p a t t e r n e d on I t a l i a n m odels b u t F ren ch p o e t s c o n t in u e d t o s eek in s p ir a tio n in I t a l y .

I n a l e t t e r d a t e d t h e n i n t h o f S ep te m b er,

1 6 3 3 , C h a p e la in w rote t h a t t h e G u tr la n d e o f M o n ta u s ie r would i m i t a t e t h e G h irl a n d a which Guazzo d e d i c a t e d t o t h e C o n te s s a “ 40. B e c c a r i a i n 1595. T h ere i s some d o u b t a s t o w h e th e r M o n ta u s ie r to o k h i s i n s p i r a t i o n d i r e c t l y from t h a t e a r l i e r work, o r in d e e d 41. w h e th e r he knew I t a l i a n . P o s s i b l y , a s M. Magne s u g g e s t s , he had s e e n t h e G u ir la n a e ou chapeau de f l e u r s a Mme. l a Comtesse de S a i n t - F o l , d u c h e sse de F r o n s a c , a c o l l e c t i o n o f s o n n e t s o f f e r e d t o t h a t la d y i n 1598 by A d rie n de l a M o r l i e r e , b u t 42, f i r s t p u b l i s h e d i n 1 622 . l e t i t m ust h av e been t h e fame o f th e I t a l i a n G h ir la n d a which s u g g e s te d t o M o n ta u s ie r t h e i d e a o f p r a i s i n g J u l i e i n t h e form o f t h e m a d r i g a l , so r e c e n t l y b r o u g h t from I t a l y . G u a r i n i ' s m a d r i g a ls c o n t in u e d i n f a v o r d u r i n g th e w hole c e n t u r y .

The poem " T i r s i m o r i r v o l e a " , q u o te d

by B e n s e -D u p u is , was t r a n s l a t e d o r a d a p t e d s e v e r a l tim es.

I t f i r s t a p p e a re d i n a R e c u e i l C o l l e c t i f o f

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71.

1635 w ith th e t i t l e

S ta n c e s.

43

'

The same v e r s i o n , s ig n e d by La

P e y r e r e , i s in c lu d e d in a m a n u s c r ip t o f th e B i b i i o t h e q u e N atio n als-, ana in the K e c u e i l de Co n r u r t .

lisev vn ere in th e h ecu ei l s ue Conr s r t

t h e r e i s an e x t r e m e l y l i c e n t i o u s a d a p t a t i o n o f G u arin i* s poem, w ith th e title :

" T r a a u c tio n au m a d rig a l I t a l i e n

*T i r s i m o r i r v o l e a ' " ,

A

more r e s t r a i n e d v e r s i o n ap peared in m e K e c u e il d e s P ie c e s Ga.la.ntes /7 fc / o f 1663, * ‘ and was l a t e r q u o te a by M e n a g e . O ther t r a n s l a t i o n s anci a d a p t a t i o n s o f I t a l i a n m a u r i g a is a r e s c a t t e r e d th ro u g h the H e c u e i ls C o i l e c t i f s and th e works o f i n d i v i d u a l au th o rs. g a lla n try .

These poems a r e a lm o s t i n v a r i a b l y con cerned w ith lo v e and A ife.urlvel T r i t e en o a r t i e de 1 ' i t a l i e n du C a v a l i e r M arin ,

" C e tte f i e r e b e a u te que 'non tune i d o l a s t r e " , a p p e a r s in th e works o f S a in t-A m a n t. 4°*

In a poem by J ean de L ing en des we f i n d a g a i n th e

theme t r a c e d th ro u g h L 1A s t r e e , th e Pit,na o f Montemayor and a m a d rig a l by Marino o f th e s i m i l a r i t y o f a woman1s a f f e c t i o n s to t n a t which i s w r i t t e n in th e san d: A icidon r a r l e F i l i i s , a u p r e s de c e t ormeau Oh p n s s o i t son r e t i t tr o u p e a u , h s t a n t t o u t e t r i s t e e t p e n s iv e , De son c.o it e s c r i v o i t un .jour f u r l e sa.oion de c e s t e r i v e : A icid o n e s t -non s e u l amour. J e ne d e v o is ru s m 'a s s e u r e r De v o i r sa promesse d u r e r P arce r a ' e n chose p lu s l e g e r e Ny p lu s re s n e m b la n te a- sa fov L ' i n g r a t e e t p a r j u r e B erg ere Me p o u v a it se n r o m e ttr e a ;noy.

41.

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

71.

i 5J . The same theme apoears In a madrigal of tne Hecueils de Conrart.

La Monnoye was to i n c lu d e an I m i t a t i o n d 'u n m a d rig a l du Cavax i e r Mar i n kI among h i s Po e s i e s.. In t h e P oesies, ol' U rbain Chevrenu a r e th r e e -

.

.





m a d r i g a ls t r a n s l a t e d from the I t a l i a n o f th e Count. F u lv io T e e t i ,

r .*’;

ano tn e D e l i c es d e l a Poesie. G a ia n te c o n t a i n s a m a u r ig a i e n t i t l e d ■/puissan ce t r a r f u i t e de I 1I t a l i e n .

6

Thus c e r t a i n T rench p o e ts from

tim e t o tim e renewed c o n t a c t w ith the I t a l i a n m a d rig a l. T h is p e r i o d i c a l r e t u r n t o I t a l i a n models must be ta x e n i n t o a c c o u n t i n t r a c i n g m e F rench m ad rigal* s d ev elo p m en t.

Sucn c o n t a c t s may h e l p

t o e x p l a i n th e p r e d o m in a n tly g a l l a n t c h a r a c t e r o f F re n c h m a d r i g a l v e r s e . They may a l s o a c c o u n t in p a r t f o r o th e r w is e i n e x p l i c a b l e d e v e lo p m e n ts o r f o r d e v i a t i o n s from th e norm which a r e w ith o u t p r e c e d e n t in F rench p o e tic t r a d i t i o n . ii/iuch more f r e q u e n t l y tn a n i n th e lB th c e n t u r y , m a d r i g a l s were w r i t t e n in I t a l i a n by Frenchmen, in d i r e c t i m i t a t i o n o f I t a l i a n v e r s e . Some o f t h e s e e f f o r t s r e c e i v e d c o n s i d e r a b l e p u b l i c i t y .

Most o f the

I t a l i a n m a d rig a ls o f Menage, p u b li s h e d in n i e Rime I t a l i a n s , 'jA~‘

are

a d d r e s s e d t o M ile, de l a V ergne, w ith one w r i t t e n f o r .ta e . de S e v ig n e j .yet t h e i r p u b l i c a t i o n shows t h a t th e y were w r i t t e n n o t o n ly f o r th o s e la d ie s,

but a l s o f o r t h e l a r g e r p u b l i c o f t h e s a l o n s ,

although, th e y

snow a m a s te ry o f to e la n g u a g e , t n e s e m a d rig a ls a r e n o t re m a rK ib ie f o r tiie ir o r ig in a lity .

Indeed Menage was famous f o r his. i m i t a t i o n s and

t r a n s l a t i o n s , as we may see in the f o ll o w i n g s a t i r i c a l a t t a c k s from

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

C o t i n ' s M e n a g e rie ;

Madrigal

L es o u v ra g e s du v ie u x Menage S o i t G recs, s o i t L a t i n s , s o i t F r a n c o i s , Nous s o n t donnez avecque c h o i x , S o n t p o l i s , e t du b e l u s a g e ; S i vous me demandez pourquoy? I I f a i t t o u j o u r s p a r l e r q u e lq u e grand p e rs o n n a g e E t ne d i t ja m a is r i e n de soy. §

Menage p re n d § t o u t e s m a in s, p i l l e F r a n c o i s , G re c s , s t Romains; De Menage, n i de s a l y r e , J e ne d o n n e r o is p as un c lo u ; E t cep e n d an t ce m a i s t r e f o u Se c r o i t e s t r e s a v a n t a ca u se q u ' i l s a i t l i r e .

55 .

Menage was n o t th e o n ly F ren ch a u t h o r t o w r i t s I t a l i a n m a d rig als.

I t i s n o t s u r p r i s i n g t h a t th e c r i t i c B ense-D upuis

sh o u ld have t r i e d h i s hand a t composing a m a d r i g a l i n t h a t la n g u a g e .

T h is i s a com plim entary poem a d d r e s s e d t o th e c a r p e n t e r

o f N e v e rs , Adam B i l l a u t , " M a is tr e Adam" o f t h e R e c u e il d es C h e v i l l e s , 56. A1 G e n t i l l i s s i m o e t unico M aestro Adamo. M a d r i g a l e . However, B ense-D upuis was more t a l e n t e d a s a c r i t i c t h a n a s a p o e t .

La

Monnoye in c l u d e d an I t a l i a n m a d r ig a l among h i s O euvres d i v e r s e s » i n t r o d u c i n g i t w ith th e f o l l o w i n g words: V oicy un M ad rig al que j ' a y f a i t ces j o u r s p a s s e s p o u r un de mes a m is, q u 'u n e je u n e e t b e l l e D em o iselle a v o i t p r i e de l u i p r e t e r un D i c t i o n n a i r e I t a l i e n : B e llis s .im a Z i t e l l a Ch’ a l l a l i n g u a F ra n c e s e Del Toscano p a e s e Aggiunghi l a f a v e l l a : Deh' non d i r c h ' i o t i mandi Quel v o c a b o l a r io che mi domandi! Che da un giovan p a r mio A s i vaga F a n c i u l l a , a l t r o s i v u o le Per s o d is f a r i l d o v ito d e sio O f f e r i r che p a r o l e . 57.

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

A lthough th e s e m a d r i g a ls »vere t h e p r o d u c t o f s c h o l a r s and p o e t s i n c l o s e c o n t a c t w ith I t a l y , th e y were e v i d e n t l y i n t e n d e d f o r t h e s a l o n s , and ca n n o t be d is m i s s e d a s mere p e d a n t i c e x e r c i s e s . A p p a re n tly t h e r e was a p u b l i c s u f f i c i e n t l y f a m i l i a r w ith th e I t a l i a n t r a d i t i o n o f th e m a d rig a l t o a c c e p t w i t h o u t s u r p r i s e and even t o welcome t h e s e e f f o r t s a t d i r e c t i m i t a t i o n . R e fe re n c e s o f c r i t i c s , t r a n s l a t i o n s , I m i t a t i o n s and a d a p t a t i o n s a r e a l l p r o o f o f th e p r e s t i g e which th e I t a l i a n m a d rig a l e n jo y e d i n F ran ce d u r in g th e 1 7 th c e n t u r y .

I t a l i a n m odels had

i n s p i r e d d ’U rfe to r e - i n t r o d u c e th e m a d r i g a l i n t o F ra n c e a t th e b e g i n n i n g o f th e c e n t u r y .

T h e o r i s t s , p o e t s , and a p a r t o f th e

g e n e r a l p u b l i c c o n tin u e d t o t u r n to I t a l y f o r i n s p i r a t i o n , e i t h e r w r i t i n g d i r e c t l y o f t h e I t a l i a n t r a d i t i o n , r e a d i n g and d i s c u s s i n g I t a l i a n v e r s e o r , f i n a l l y , a c c e p t i n g I t a l i a n m a d rig a ls a s models f o r t h e new F rench form .

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75.

Chapter IV The Nature of the Mew French Madrigal and early Examples

o f t h e Form

Long b e f o r e th e a p p e a ra n c e o f L 'A s t r e e i n t h e e a r l y 1 7 th c e n t u r y i t had been a custom t o i n t r o d u c e v e r s e i n t o t h e s e n t i m e n t a l n o v e l , a p r a c t i c e which p o s s i b l y i n d i c a t e s a l i n k w ith th e e p i c . ^ • Drn'ing t h e i r l e i s u r e moments, l o v e r s composed v e r s e w hich th e y o c c a s i o n a l l y sang to t h e accom panim ent o f th e l u t e , and p o e t r y was a n e v e r - f a i l i n g c o n so la tio n to th e lo v e r in d is g ra c e .

These

poems were o f many t y p e s , b u t a p p a r e n t l y t h e m a d rig a l was n o t one o f th e m . Honore" d ' U r f d made f u l l u s e o f t h i s t r a d i t i o n a l a c c e s s o r y o f t h e n o v e l in composing I ' A s t r e e , s c a t t e r i n g th r o u g h i t v e r s e o f e v e ry d e s c r i p t i o n .

Sometimes t h e p r e t e x t f o r i n s e r t i n g a poem was

s lim and t h e e f f e c t p u r e l y o r n a m e n ta l , b u t o f t e n t h e poem se rv e d t o i l l u s t r a t e an e p is o d e o r to h e i g h t e n a d r a m a tic s i t u a t i o n . ' * g e n e r a l , how ever, h i s v e r s e shows l i t t l e

In

ta le n t or o rig in a lity .

D 'U r f e 's o r i g i n a l c o n t r i b u t i o n was t h e i n t r o d u c t i o n o f th e madriga.:., and w ith i t th e ' v e r s l i b r e ' , among o t h e r t y p e s o f v e r s e used i n 1 ' A s t r e e .

There a r e tw e n ty poems e n t i t l e d m a d r i g a l s i n t h e

f o u r books o f I ' A s t r e e

c e r t a i n l y w r i t t e n by d ' U r f e , and one such

poem i n th e f i f t h p a.rt o f B a l t h a z a r B a ro .

The m a d r i g a l s f o l l o w no

r i g i d p a t t e r n and v a r y in l e n g t h from f o u r t o t h i r t e e n

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

76.

lin e s.

Some a r e i s o m e t r i c , b u t most a r e composed o f l i n e s o f

d i f f e r e n t le n g th .

Some show t r a c e s o f th e t r a d i t i o n a l rume-scheme

o f t h e I t a l i a n m a d r i g a l, a s i n th e f o ll o w i n g exam ple: Le Temple d 'a m i t i e ' Ouvre s a n s p l u s 1 ' e n t r e e Du s a i n c t te m p le d ' A s t r e e , Ou 1 ' amour q u i m 'ordonne De l a s e r v i r t o u s j o u r s Ccmrne j a d i s j e lu y donnay mes j o u r s , Veut q u 'o r e s j e l u y donne Les t r i s t e s n u i t s De mes e n n u i s . 4. O th e r s a r e s i m i l a r t o th e t r a d t i o n a l q u a .tr a i n .

Not a l l end w ith a

f i n a l rim in g c o u p l e t , b u t a l l a r e composed o f v a r i o u s c o m b in a tio n s o f c o u p l e t s , t i e r c e t s and q u a t r a i n s , w ith an o c c a s i o n a l in d e p e n d e n t r im e . Most o f t h e s e poems a r e composed by l o v e r s , many c a rv e d by them on r o c k s and t r e e - t r u n k s , and a l l a r e c o n c e rn e d w ith l o v e . They a r e f u l l o f th e e x a g g e r a te d m e tap h o rs found i n t h e I t a l i a n m a d r i g a l , a s may be seen i n t h e s e two l a s t l i n e s : J e s u i s un r o c h e r en c o n s ta n e e E t vous l ’ e s t e s en c r u a u t e l 5. The s h e p h e rd s a r e fond o f p l a y in g w ith w ords, a s i n th e f o ll o w i n g m a d r i g a l , where t h e whole e f f e c t o f t h e poem d ep en d s on t h e r e i t e r a t i o n o f "b e rg 'e re , b e r g e r " : M ad rig al Fourquoy s e m b l e - t - i l t a n t e s t r a n g e , Que f i i l e comme vous e s t a n t T o u t e s f o i s j e vous airne t a n t ? S i l ’amant en l ' a i m e se change Ne p u i s - j e pas mieux me ch an g er E s t a n t b e r g e r e en vous b e r g e r e , Qu’ e s t a n t b e r g e r e en un b e r g e r ? 6 .

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

D'Urf'e a p p a r e n t l y s h a r e d t h e u n c e r t a i n t y o f I t a l i a n t h e o r i s t s r e g a r d i n g th e e x a c t n a t u r e o f t h e s e poems.

One o f h i s m a d r i g a l s

he a l s o d e s c r i b e d a s th e l a s t s t a n z a o f a chanson: E t o a r c e q u ' a i ' h e u r e que c e t t e tr o u p e v i n t en ce l i e u , I ' u n e d e s b e r g e r e s c h a n t o i t , A stree e t T i r c i s s ’a r r e s t e r e n t t o u t c o u rt, e t se t o u r n a n t v e r s ceux q u i v e n o i e n t a p r e s eux, l e u r f i r e n t s ig n e d ’a l l e r cioucement. 5/lais d ' a u t a n t que l a chanson e s t o i t p re s q u e f i n i e , i l s n ' o u i r e n t que ce d e r n i e r c o u p l e t : iviadrigal Quoy? vous a y - j e o f f e n c e e , Df e f f e c t , ou de pensee? D1e f f e c t , i l ne p e u t e s t r e , S i mon p e n s e r l ’ a f a i t , i l e s t un t r a i s t r e . 7. The

same c o n f u s io n a p p a r e n t l y e x i s t e d i n th e mind o f some o f

h is

c o n t e m p o r a r i e s , f o r E s p r i t A u b e rt q u o te d a s a m a d r i g a l a

poemfrom t h e f i r s t p a r t o f L*Astre'e w hich b e a r s

no t i t l e .

A lthou gh t h i s poem b e a r s some re s e m b la n c e to th e t r a d i t i o n a l m a d r ig a l form , i t i s c o n s i d e r a b l y l o n g e r th a n th e r e s t o f d ' U r f e ' s m a d rig a ls. The sh e p h e rd s and s h e p h e r d e s s e s o f L 'A stre 'e o c c a s i o n a l l y s in g

a m a d r ig a l, b u t n o t more f r e q u e n t l y th a n o t h e r v e r s e .

m a d r ig a l "Quoy,

The

vous a y - j e o f f e n c e 'e ? " , q u o te d above a s p a r t o f

a ch anson , was sung, and a p p a r e n t l y w ith g r e a t s u c c e s s : C e t te b e r g e r e a v o i t l a v o ix s i douce que t o u t e l a t r o u p e su rv e n u e f u t b ie n m a r r i e q u ’ e l l e e u s t s i t o s t achev d. 9 . The m a d rig a l Chasse d 1Amour was l i k e w i s e s e t to m usic: S t p a rc e q u ’ i l I 1a v o i t f a i t e a l a c h a s s e , e t c u ' i l en e s t o i t p l u s amoureux q u ’ i l n ’a v o i t ja m a is e s t e , i l en f i t de t e l s v e r s que d e p u i s i l f a i s a . i t s o u v e n t c h a n t e r p a r ceux de sa m u s iq u e .

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

The m a d rig a l "De v o u s , de moy, d 1amour, j ’ a y r a i s o n de me 11. p l a i n d r e " was sung by S i l e i n e , and B a l t h a z a r Baro i n t r o d u c e d by t h e s e words th e m a d rig a l w hich he i n c l u d e d i n t h e f i f t h p a r t o f L * A stree: I I s ' a s s i t so u s un a r b r e , e t l a , p o u r s ' e n t r e t e n i r t o u s j o u r s dans l e s s u b j e c t s de s a m e l a n c o i i e , i l c h a n ta p rem ie re m e n t c es v e r s : 12. O th e r such poems, how ever, were s e n t i n l e t t e r s o r i n s c r i b e d on t r e e s .

I t i s t h e r e f o r e d o u b t f u l w h e th e r d ! (Jrf^

th o u g h t o f t h e m a d r ig a l a s b e t t e r s u i t e d th a n o t h e r t y p e s o f v e r s e f o r m u s ic a l accom panim ent.

C e rta in ly h is m ad rig al

was n o t i n v a r i a b l y c o n n e c te d w ith m u sic . I n t h i s he s e t a p r e c e d e n t which was t o be f o ll o w e d d u r in g t h e 1 7 th c e n t u r y .

I n tr o d u c e d i n t o F ra n c e a s an

a c c e s s o r y o f th e p a s t o r a l n o v e l, t h e new m a d ri g a l was f i r s t r e a d w i t h th e n o v e l , and i t r e t a i n e d t h e l i t e r a r y c h a r a c t e r l e n t t o i t by such a r e a d i n g .

S in c e t h e contem porary

I t a l i a n m a d r ig a l was no l o n g e r n e c e s s a r i l y c o n n e c te d w ith m u sic , I t a l i a n i n f l u e n c e could do l i t t l e o r n o t h i n g to m o dify t h i s F re n c h c o n c e p tio n o f t h e m a d r i g a l a s e s s e n t i a l l y lite ra ry . A lthou gh B o u o u e ts. Impromptus and o t h e r s i m i l a r t y p e s o f v e r s e were o c c a s i o n a l l y s e t to m u sic, poems e n t i t l e d m a d r i g a l s r a r e l y a p p e a r w ith m u s ic a l accompaniment. ex ce p tio n s.

There a r e a few

M u sic a l m a d r i g a ls were i n c l u d e d i n t h e f o l l o w i n g

c o l l e c t i o n o f s a c r e d so n g s: Amphion s a c r e , R e c u e i l l y de q u e lq u e s e x c e l l e n s M u sic ie n s de ce temps, c o n t e n a n t p l u s i e u r s beaux A i r s , Chansons, N oels e t M a d r ig a l e s , d e s q u e ls beaucoup n ' o n t e n co re e s t ^ mis en l u r a i e r e , a' 4 e t 5 v o ix , Lyon, Ches Louys Muguet, 1615.

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

T h is c o l l e c t i o n , how ever, c o n t a i n s works n o t o n ly o f F r e n c h m u s ic ia n s b u t a l s o o f t h e J - t a i i a n Giacomo G a s t o i d i , to whom t h e m a d r i g a l s may p r o b a b ly be a t t r i b u t e d . ' L a t e r i n th e c e n t u r y , a m a d ri g a l o r s e r i e s o f m a d r i g a l s a p p e a r e d s e t to music i n t h i s c o l l e c t i o n : M eslanges de Me. A rtu s A ux-C ousteaux, M a i s t r e de l a Musique de l a S a i n t e C h a p p e lle de P a r i s . A P a r i s , P a r R o b e rt B a l l a r d , 1644. Avec P r i v i l e g e de sa M ajeste'. I S . Here i s th e t e x t : M a d r ig a i le A q u a t r e S o n t- c e l e s yeux d ’A n g eliq u e ou d 1Amour, Qui me s u r p r i r e n t 1 ' a u t r e jo u r ? J e d o u te ce t y r a n me v o y a n t son r e b e l l e , A u r o i t b ie n peu p o u r me j o u e r d ’ un t o u r Changer d 'y e u x av ec e l l e . I t i s fo llo w e d by f o u r o t h e r p a r t s o r m a d r i g a l s , t h r e e o f them i n f o u r v o i c e s and one i n f i v e . A lthough t h e accompaniment h a s n o t come t o l i g h t , a. m a d rig a l by B o i s r o b e r t S u r l e r e t o u r de Madame l a M arau ise de G o u v ern et p u b li s h e d w ith t h e i n d i c a t i o n "p o u r m e t t r e en m u s iq u e ".

was

A

number o f th e m a d ri g a ls o f M. de l a S a b lie V e , ’ g ran d m a d r i g a l i e r de F r a n c e 1, were s e t to m u sic .

I t i s n o t c l e a r w h eth er he h i m s e l f

composed th e accom panim ent.

A lthough t h e v e r s e was - u b l i s h e d i n 1680,

t h e music d i d n o t a p p e a r u n t i l 1704, w ith th e t i t l e : M adrigaux de M onsieur de l a S a b l i e r e ( S t d i v e r s a u t r e s a u t e u r s ) A P a r i s , chez C r i s t o p h e B a l l a r d , 1704. ■ 15. The A v e r tis s e m e n t accompanying t h i s volume s t a t e s t h a t i t i s a f a i t h f u l copy o f th e works o f M. de l a S a b l i e r e :

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

V

J e me c o n t e n t e r a r y de d i r e , cue j ' a y o b e i a d es p e r s o n n e s de c o n s i d e r a t i o n am is de 1*A u te u r , q u i e s t i m e n t s e s O uvrages t e l s q u ' i l l e u r a l a i s s e z , e t q u i f o n t scru p u le d ' v l a i s s e r c h a n g e r , ou a j o u t e r l a m oindre chose. 16.

Such a s t a t e m e n t seems t o i n d i c a t e t h a t t h e m usic a s w e ll a s th e v e r s e d a t e s from t h e tim e o f l a S a b l i e r e , b u t t h e r e i s no h i n t r e ­ g a r d in g t h e co m p o se r's i d e n t i t y .

There a r e i n t h i s volume 22 o f

h i s m a d r i g a l s , a l l o f which had p r e v i o u s l y a p p e a re d i n t h e e d i t i o n o f 1680.

There a r e a l s o a number o f poems by o t h e r u n i d e n t i f i e d

a u t h o r s . ' U n lik e th e m a d r i g a l s f o r f o u r and f i v e v o i c e s o f AuxC o u stea u x , t h e s e a r e a l l f o r one v o ic e w i t h ' b a s s e - c o n t i n u e ' , and b o t h m a d r i g a ls and o t h e r poems a r e a l s o d e s c r i b e d a s " A i r s s d r ie u x " o r " A i r s a b o i r e " . The ' a i r de c o u r' had. ta k e n th e p l a c e h e l d by t h e " c h a n s o n ' i n t h e 1 6 th c e n t u r y .

I t c o u ld be sung e i t h e r by s e v e r a l v o i c e s

o r by a s i n g l e v o ic e accom panied by th e l u t e o r t h e o r b e . ^ '

The

v e r s e t o which i t "was a d a p t e d was a s v a r i e d a s t h e music.,, and c o u ld t r e a t any s u b j e c t .

V'e have s e e n t h a t t h e r e w ere b o t h " A i r s s e r i e u x "

and " A irs a b o i r e " . I n form t h e r e i s some c o n f u s io n betw een t h e 1 7 th c e n t u r y A ir and m a d r i g a l v e r s e .

The m a d r i g a l a p p e a r s to have e x e r c i s e d

c o n s i d e r a b l e i n f l u e n c e on th e form o f th e A i r , i n t r o d u c i n g i n t o i t th e ' v e r s f i b r e ' .

Both forms were s h o r t , b o t h c o u ld be composed o f

f r e e v e r s e and b o t h were l a r g e l y co n cern ed w i t h lo v e and g a l l a n t r y . U s u a lly t h e r e i s a d i f f e r e n c e i n t r e a t m e n t , t h e a i r o f t e n en d in g i n

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

31.

l y r i c r e f r a i n r a t h e r t h a n w ith th e ep ig ra m m a tic t u r n which came to c h a r a c te r iz e th e m a d rig al. w ith t h e t i t l e o f a i r .

But i n some c a s e s m a d r i g a l s were l a t e r p u t t o m usic

A f o u r - l i n e m a d r i g a l by t h e Abbe" de Boute',

"Les r e g a r d s de P h i l i s a v a i e n t t a n t de d o u c e u r " , a p p e a r i n g i n t h e Nouveau R e c u e il d e s o lu s b e l l e s p o e s i e s ,

p u b l i s h e d i n P a r i s by

Loyson i n 1654, was l a t e r ex te n d e d t o e i g h t l i n e s and in c lu d e d i n t h e Nouveau R ecu eil. d e s olU3 b e a u x v e r s mis en c h a n t o f 1630 u n d e r t h e 18 t i t l e A ir de L a m b e rt. ^ '

I n th e same manner, one o f S c a r r o n ' s

m a d r i g a l s , "Mes y e u x , vous r e g a r d e z C l o r i s " , p u b l i s h e d i n th e R e c u e il de S e rc y , 4 r t I , second e d i t i o n , i n 1656, l a t e r a p p e a re d w i t h two s ta n z a s in s te a d , o f one i n t h e R e c u e i l d e s o l u s beaux v e r s q u i o n t e t e ' mis en c h a n t o f 1661 u n d e r t h e t i t l e A i r de M. de C a m b e fo rt. Such exam ples show t h a t th e term a i r

was sometimes u s e d l o o s e l y

to d e s i g n a t e any s h o r t poem s e t t o m u sic .

T h a t i t c o u ld i n c l u d e t h e

m a d r i g a l when t h a t c o m p o sitio n was s e t to music i s shown by th e c o n f u s io n \

o f th e two term s i n t h e volume o f La S a b l i e r e ' s m a d r i g a l s .

A p p a r e n tly

a m u s ic a l accompaniment was so f o r e i g n t o th e m a d r i g a l t h a t such an e x p e rim e n t was im m e d ia te ly r e - b a p t i s e d an a i r .

The accom panim ent m ight

add t o t h e f a v o r w i t h which a m a d r ig a l was r e c e i v e d i n t h e s a l o n s , b u t m usic was t o have no p a r t i n sh a p in g t h e d ev elo p m en t o f t h i s ty p e o f v e rse in F rance. The m a d r i g a l ' s l i t e r a r y c h a r a c t e r was r e c o g n i z e d by t h e c r i t i c s , few o f whom m entio ned th e t r a d i t i o n a l c o n n e c tio n betw een m a d rig a l

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19.

and m u sic .

B en se-D up uis was an e x c e p tio n when he w ro te : La s e u l e d i f f e r e n c e q u ' i l y p e u t a v o i r e n t r e l ’ Epigramme e t l e M a d r ig a l, e s t que l e M ad rig al se c h a n te e t l ’Epigramme non. 20.

b u t he was s p e a k in g o f th e I t a l i a n form .

S en ece , d i s c u s s i n g

t h e d i f f e r e n c e betw een chansons and m a d r i g a l s , made th e fo llo w in g d i s t i n c t i o n : . . . n o s ch an so n s, s o i t g a l a n t e s , s o i t b a c h i q u e s , ou du co n sen te m en t meme d e s e t r a n g e r s , l a N a tio n f r a n c o i s e e x c e l l e s u r t o u t e s l e s a u t r e s , e t nos M adrigaux, ou l e s s e n ti m e n t s du co e u r s 1ex p rim e n t s i d e l i c a t e m e n t ; q u ' e s t - c e a u t r e chose a v o t r e a v i s , que d e s m a n ie r e s d'Epigram m es; l e s u nes d e s t i n e e s p o u r e t r e m is e s en m usique, e t l e s a u t r e s pou r t r a i t e r av ec l a d o u c e u r e t l a f a c i l i t e C a t u l l i e n n e , d e s s u j e t s d 1amour ou d ’a m i t i e ? 21. I n d i s t i n g u i s h i n g i t from th e chanson, S enece r e c o g n i s e d t h e e s s e n t i a l l y l i t e r a r y c h a r a c t e r o f t h e F r e n c h m a d r i g a l. I t s p r e a d r a p i d l y a s a l i t e r a r y fo rm .

D 'U rfe i n t r o d u c e d

s i x poems e n t i t l e d m a d ri g a ls i n th e f i r s t p a r t o f l fA s t r e e . p u b l i s h e d i n 1607.

I n 1613, E s p r i t A u b e r t, q u o t i n g s i x o f

d ’U r f e ' s poems a s m a d r i g a l s , added t h a t t h e r e were "une 22. i n f i n i t e d 'a u tr e s " . The co m p o sitio n h ad won f a v o r among ’l e s m o d e rn e s ’ , d e v e l o p in g from an a c c e s s o r y o f th e n o v e l t o an in d e p e n d e n t fo rm .

In 1620, s i x o f d ’ U r f i ’ s m a d r i g a ls were

i n c l u d e d i n t h e f i r s t R e c u e il C o l l e c t i f t o c o n t a i n exam ples o f t h i s ty p e o f v e r s e .

Only f o u r o f t h e s e had ap p e a re d a s m a d rig a ls

i n I ’A s t r e e , b u t th e re m a in in g two were composed o f ' v e r s l i b r e s ’ , and one f o llo w e d v e r y c l o s e l y th e t r a d i t i o n a l m a d r i g a l p a t t e r n :

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Madrigal.

Un petit chien la mord sn la main

P o u r tr i o m p h e r e n f i n de c e s t e arne c r u e l l e , Amour de to u a l e s D ieux Le p l u s i n g e n ie u x , Sous l a forme d 'u n c h ie n se v i e n t a p p r o c h e r d ' e l l e , E t p u i s en t r a h i s o n l a m o r d i t en l a m ain. En g o u t t e s de r u b i s l e sang c o u la s o u d a in , E t f i t l a main p lu s b e l l e . Mais amour c ' e s t en v a i n , Lai-sse 1A ces f i n e s s e s , I I f a u t que t u l u i b l e s s e s P o u r en e s t r e v u ia q u e u r Le main non, m ais me c o e u r , 24. Thus ri'U rfe/, famous a s a u t h o r o f I ' A s t r e e i n w hich he i n c lu d e d m a d r i g a l v e r s e , a p p e a r s t o have g a in e d an in d e p e n d e n t r e p u t a t i o n a s a w r i t e r o f m a d r i g a ls a s w e l l . The Chanoine fieure h a s t r a c e d th e i n f l u e n c e o f I ' A s t r e e on T r i s t a n 1 'H e r r n ite , on S e g r a i s , on M ile , de S cud ery and on Mine. D e sh o u lie re s,

* a l l o f whom were p r o l i f i c a u t h o r s o f m a d r i g a l s .

L ik e d 'U r tV . M ile , de S cu dery i n s e r t e d m a d r i g a ls i n some o f h e r n o v els.

In Ajmahide ou I ' e s c l a v e r e i n e , a l e a r n e d re n e g a d e a t

th e c o u r t o f Granada t a u g h t A b in d a rr a y s to compose them, ^6 * and th e g a l l a n t s o f La promenade de V e r s a i l l e s w r o te m a d r i g a ls f o r th e ir la d ie s.

27.

I t i s th u s r e a s o n a b l e t o su p p o se t h a t d ' U r f e ' s

i n f l u e n c e s e r v e d th e ca u se o f th e new m a d rig a l he had i n t r o d u c e d i n t o F ra n c e and h e lp e d t o e s t a b l i s h i t t h e r e .

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34.

Chapter V The Madrigal in the salons and at the court

The m a d rig a l v;as to have i t s g r e a t e s t vogue a s an i n ­ d e p e n d e n t c o m p o s itio n , s e p a r a t e from th e n o v e l , b u t th e im m ediate and g r e a t s u c c e s s o f 1 'A s t r e e u n d o u b te d ly d id much t o la u n c h th e new ty p e o f v e r s e in t h e s a l o n s .

The n o v e l was

r e a d e v ery w h ere, b o th a t t h e c o u r t and i n p r i v a t e s o c i e t y .

It

was a f a v o r i t e w ith Mme. de R a m b o u ill e t, whose s a lo n was f r e q u e n t e d by m ost o f t h o s e who composed m a d r i g a ls d u r in g th e y e a r s immediately f o l l o w i n g th e a p p e a r a n c e o f I ' A s t r e e . Racan, two o f whose m a d r i g a ls a p p e a r e d i n a R e c u e il C o l l e c t i f o f 1627,

was one o f t h e f i r s t h a b i t u e s o f

t h e H6 t e l de R a m b o u ille t,

A no th er R e c u e il o f 1633

co n ta in s

two m a d r i g a ls by M a l l e v i l l e and G uillaum e C o l l e t e t , b o th o f whom were to c o n t r i b u t e t o t h e G u ir la n d e de J u l i e . of Colletet had already

appeared,

The m a d r i g a l

two years previously, in a

volume o f h i s p o e t r y w hich i n c lu d e d s i x exam ples o f t h e new ty p e 3« o f v e r s e . The g r e a t C o r n e i l l e , . who was l a t e r to sub m it h i s t r a g e d y P o ly e u c te t o t h e judgm ent o f Mme. de R a m b o u i l l e t 's s a l o n , had in c lu d e d two m a d r i g a ls among t h e Melanges P o e t i o u e s p u b l i s h e d w ith h i s C l i t a n d r e i n 1632, and th e f o ll o w i n g y e a r had d e d i c a t e d a n o t h e r to Georges de S cudery i n o r a i s e o f h i s Trompeur Puny.

The m ost g r a c e f u l o f h i s m a d r i g a ls i s one which

he a d d r e s s e d to a young g irl:

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85.

Madrigal. Pour un Masque, donnant une boete de

C e r i s e s c o n f i t e s a une D em o iselle A l l e z v o i r ce je u n e S o l e i l , C e r i s e s , j e vous en advoue, M ontrez lu y v o s t r e t e i n t v e r m e il Un peu moins que sa l e v r e , un peu p l u s que sa j o u e , M ontrez l u y v o s t r e ro u g e t e i n t , Ou l a n a t u r e a p e i n t Comrae s u r une v i v s image La cruaute" de son c o u ra g e . A pres en ma f a v e u r d ans l e c o n te n te m e n t Que vous a u r e z s i l a b e l l e vous to u c h e , D ic te s lu y se c re tte m e n t A pprochant de sa bouche . . . P h i l i s v o s t r e b e a u te ' Ne p o r t e l e s c o u l e u r s que de l a c r u a u t e . 4. Not a l l th e m a d r i g a ls w r i t t e n by p o e t s who f r e q u e n t e d t h e H o te l were d e v o te d t o g a l l a n t r y .

The f o ll o w i n g poem by G u illaum e

C o l l e t e t i s a P i e c e L i m in a ir e f o r a book i n s p i r e d b y th e c a b a re t: A v e r tis s e m e n t s u r un L i v r e i n t i t u l e ' , l e Moyen de p a r v e n i r .

M ad rig al

L e c t e u r , s ’ i l a d v i e n t d ’ a v a n tu r e Que to n e s p r i t i n d u s t r i e u x Ne tr o u v e dans c e s t e l e c t u r e Rien q u i s o i t d ig n e de t e s yeuxj S cach e s q u ’ un c a b a r e t e n f a n t a c e t o u v rag e E n t r e l a p o i r e e t l e fromage: De s o r t e que p o u r f a i r e cas De ce f a n t a s q u e l i v r e , I I f a u t que t u s o i s y v re ; Car ceux q u i s o n t a je u n ne l ’a p p r o u v e r o n t p a s .

5.

There i s n o th i n g t o show t h a t t h e s e e a r l y m a d r i g a ls were i n t e n d e d f o r th e H o te l de R a m b o u ille t i t s e l f o r t h a t th e y were r e a d t h e r e .

A p p a re n tly o t h e r s h o r t v e r s e form s

such a s th e ’Bouts-Rim es* and th e ’ Rondeau} r e v i v e d by V o i t u r e , found more f a v o r a t th e H o te l d u r in g th e e a r l y y e a r s of i t s ex isten ce.

S a r a s i n was l a t e r to w r i t e o f t h e a u t h o r s

ad m ired by V o i t u r e :

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Les I t s i i e n s m a r c h a ie n t a p r e s xes L a t i n s e t c h a n t s l e n t £ 1 'e n v i: E o n e tti, m a d rig x ie tti, V ersi s c i o i t i , v e / z o s e tti , P er Vincenzo V e t t u r i n i . 6. Y et s t r a n g e l y enough V o i t u r e . .Launcher o f new t y p e r o f .Light v e r s e , appear:? n o t t o have w r i t t e n a s i n g l e m a d r i g a l.

He c l o n e o f th e many

p o e ts ;v::o a s s i d u o u s l y f r e q u e n t e d tno H o te l de R a m b o u ille t d id n o t I c o n t r i b u t e t o th e famous G u ir la n d e ae J u l i e .

P o s s i b l y he c o n s id e r e d

th e m a d r ig a l a s th e p r o p e r t y o f M. de m o n t a u s ie r whom, i f we may b e i i e v e T u lle m a n t d es R etux ,

?•

he h e a r t i l y d i s l i k e d .

O th e r m ad rig ax s th a n th o s e o f tn e G u l r l a n de were n e v e r t h e l e s s composed in th e s a lo n o f th e M a rq u is e .

T a l l e r m n t des Ke'uux t e i i r us

t h a t Madame de R a m b o u ille t h e r s e l f w rote them: Mme. de R a m b o u ille t v o y an t l e j e t d 'e a u c an s l e p a r t e r r e du logeinont dc M a d e m o i s e lle .. . l l l e p a r i e & Mme. d ' A i g u i l l o n pou r en a v o i r l a u e'charg e, c a r xa f o n t a i n e de I ' n o s t e i de R a m b o u ille t n 'a n u 'u n f i l e t d ' e a u . Mine, d ' i- ig u i l l o n f u t q u e lc u e temps san s lu y en r e n d r e r e s p o n s e : e l l e lu y envoya ce m a d rig a l pour x 'e n fa i r e r e s s o u v e n i r . c a r e.Lie en a. f a i t c u e lq u e f o is . de b ie n j c l y s : M adrigal O r a n te , don't l e s S oings o b i i g e n t t o u t l e monde, G a rd e s , que l e c r i s t a x d o n t se forme c e i t e onde, Vui d an s l e p a r t e r r e a son th r o s n e e s t a b l y , A l a f i n ne se perde au f i e u v e de l ' o u b l y . 3. I f , a s T a lie m a n t a s s u r e s u s , Mme. de R a m b o u ille t composed o t h e r m a d r i g a l t h e s e nave been l o s t . nave been p r e s e r v e d ,

S e v e r a l m a d rig a ls w r i t t e n by h e r husband, however a c c o r d in g t o L&chfcvre, one o f th e s e poems, n o t

in c lu d e d in th e G u i r l s n d e , i s found in a m a n u s c r i p t o f tne R tb iio th e q u e

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

a!

N a tio n a x e . J *

a n o t h e r m a n u s c r ip t c o n t a i n s a m e a r ig a i by the M arquis de

M o n ta u s ie r.

famous f o r a i s G uirl& nde,

to ;vi.icii he c o n t r i o u t c a many

' f le u r s '. The G u i r i a n a e was planned a t l e a s t e i g d t y e a r s b e fo re i t was p r e s e n te o t o M i l e . de E a m b o u ii le t.

On Septerncer d, i 6 co, Chape l a .in

w ro te to M o n ta u s ie r a s s u r i n g him t h a t ne had com pleted tn e 'M a d r ig a l de F l e u r s ' prom ised f o r tn e G u i r l a n d e .

The m a d r i g a ls o f M a l i e v i l l e

and Scudery d a t e froia t n e same y e a r .

C o n tr u r y t o r e c e n t b e l i e f ,

.J u l ie could n o t have been i g n o r a n t o f what was b e in g p r e p a re d , f o r G eorges de S cu d ery in c lu d e d " I f F l e u r s d e s t i n e s a l a G u ir la n d e de l a P r in c e s e e J u l i e " i n a volume d e d i c a t e d t o M ile , de R a m b o u ille t in l o o t : Tous l e s bons e s p r i t s de l a Cour, a yen? t r a v a i i i e ' a la. G u ir ia n d e de c e t t e exce.Llente p erso n n e a q u i j ' o f f r e ce l i v r e , pou r y c o n t r i b u e r q u e lq u e c h o s e , j ' e y v ou lu c u e i l l i r c e s f l e u r s au p ie d du Parn& sse, ou j e n,'a 'a y p a s c l r o i c t ce m o nter c o m e eux, u eu r forme, l e u r c o u i e u r , i e u r n a t u r e , ou l e s F a b le s q u i s ' e n v o y e n t, m 'o n t fo u r n y l e s p en sees s u r ce s u j e t j e t j e c ro y que c ' e s t o i t a i n s i que j e xe devoir. t r a i t t e r : s o i s - e n ju g e cornme du r e s t e de mes o u v rn g e s. l b . The words o f M. de Scudery s u g g e s t t h a t s campaign o f p u b l i c i t y had been b u i l t up aro un d t h e Gu L riand e .

a ltn o u g h i t s c o m p o sitio n was n o t k e p t

s e c r e t from M ile , he K o m b o u iile t, modesty p r o b a b ly k e c t h e r from m e n tio n in g i t h e r s e l f ,

b u t th e ' bons e s p r i t s de l a c o u r ' ,

i n v i t e d by

M o n ta u s ie r to c o n t r i b u t e to t h e •G u i r l a n d e . c o u ld oe r e l i e d upon t o s p r e a d i t s fame.

Such p u b l i c i t y may a c c o u n t f o r a good p a r t o f the

r e p u t a t i o n t h i s c o l l e c t i o n o f m a d r ig a ls was to e n j o y .

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

def s t i g ab le

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

95.

Menage,

a m a d ri g a l from p a v i l i o n , 4^ . and o t h e r s from many

more p o e t s . 41 *

M ile , d e s J a r d i n s , 4 2 -Mme. de L o n g u e v i l l e , 4 *'*

Mme. S c a r r o n , 4 4 * M ile , de N o rm a n v ille , 4 5 •

M ile , de M o rte m a r,4 6 •

a r e b u t a few o f th e l a d i e s to whom such com plim ents were a d d r e s s e d . I t was o n ly a s t e p from th e s a lo n s t o t h e r o y a l p a l a c e , where m a d r i g a ls were o f t e n w r i t t e n f o r th e k i n g , h i s m i n i s t e r s o r members o f h i s c o u r t . de R i c h e l i e u .

^ '

B o i s r o b e r t a d d r e s s e d s e v e r a l to t h e C a r d i n a l G a b rie l G ilb e rt,

Queen o f Sweden, w ro te

s e c r e t a r y i n F r a n c e t o th e

numerous m a d r i g a ls f o r r o y a l t y and t h e

members o f t h e i r c o u r t s .

* *

C o tin in c l u d e d i n h i s P o e s i e s

c h r d t i e n n e s o f 1668 a number o f such, com plim ents to t h e k i n g , 'S u r son r e t o u r de l a F ranch e-C om te*.

Here i s a m a d r ig a l

w r i t t e n by La F o n ta i n e f o r L o u is XIV and h i s b r i d e M arie T h e r e s e : M a d r ig a l .

Au Roi e t a l 1I n f a n t e , en 1660 .

Heureux co u p le d 'a m a n t s , r a c e de m i l l e r o i s , R ie n que de v o i r t r e m b l e r c e n t p e u p l e s sous v os l o i s S o i t une g l o i r e peu commune, Vous a v o u e r e s p o u r t a n t un j o u r Qu'on e s t mieux couro nn e' p a r l e s mains de l 1Amour Que p a r c e l l e s de l a F o r tu n e . 49. R e q u e s ts and th a n k s were o f t e n a d d r e s s e d to t h e k in g i n t h e form of m a d rig a ls.

The;/' were a l s o w r i t t e n f o r e n t e r t a i n m e n t s a t t h e c o u r t

a s i n th e s a l o n s .

F o r a ’f & t e ' g iv e n by t h e k in g a t M arly i n honor

o f t h e Duchesse de Bourgogne who had j u s t g iv e n b i r t h t o a so n , A n to in e de Senece composed a c o l l e c t i o n o f more th a n t w e n t y - f i v e m a d rig a ls.

These were to be r e c i t e d by d i v i n i t i e s a s th e y p r e s e n t e d

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

g i f t s t o th e p r i n c e s s .

O th e rs were p r e s e n t e d i n w r i t i n g .

A g ift

o f f r u i t was accom panied by t h i s m a d r ig a l: Les f r u i t s g l a c e s P o u r nous o f f r i r a v o u s, P r i n c e s s e b e l l e e t s a g e , Avec l e s p r e m i e r s f r u i t s nous e t i o n s en voyage; Nos f r e r e s n o u s o n t d ev an c es: Nous n * e t i o n s p a s moins em p re sses De vous r e n d r e n o t r e humble horamage; Mais l e r e s p e c t nous a g l a e e s . 50. O th e r s were p r e s e n t e d w ith g i f t s o f f l o w e r s , s c a r v e s , P e r s i a n s i l k s , f a n s and many o t h e r o b j e c t s . Mme. de S ev ig n e r e c o u n t s t h a t L o u is XIV h i m s e l f was a f f e c t e d by th e g en era l t a s t e f o r w r itin g m a d rig als.

H aving w r i t t e n one which

h e h i m s e l f ju d g e d m e d io c re , he s u b m it te d i t to t h e Mare'chal de Grammont, a s k i n g him i f he d i d n o t t h i n k t h a t t h e poem was w o r t h l e s s .

The Mare'chal

a g r e e i n g , th e k in g th e n r e v e a l e d h i m s e l f a s t h e a u t h o r , t o t h e con­ fu sio n of h is c o u rtie r.

When t h e Mare’c h a l begged f o r t h e .oppor­

t u n i t y t o ju d g e i t a g a i n , t h e k i n g l a u g h i n g l y r e f u s e d , s a y in g : Non, M onsieur l e Mare’c h a l , l e s p r e m i e r s s e n tim en ts so n t to u jo u r s l e s p lu s n a t u r e i s .

51.

Mme. de Sevigne added: P o u r moy q u i aime t o u j o u r s a f a i r e d e s r e f l e x i o n s , j e v o u d r o is que l e R oi en f i t l a d e s s u s , e t q u ’ i l ^ j u g e a t p a r l a combien i l e s t l o i n de c o n n o i t r e ja m a is l a v e r i t e . 52. I t was common t o d i s c u s s i n th e s a l o n s th e v a l u e o f a l i t e r a r y work, and th e m a d r ig a l was f r e q u e n t l y so d i s s e c t e d .

Such s c h o l a r s

( o r p e d a n ts ) a s Menage l e d d i s c u s s i o n s o f t h i s k i n d , o r in t r o d u c e d I t a l i a n , Greek o r L a t i n models f o r t h e m a d rig a l i n t h e s a l o n s .

Menage

t e l l s i n h i s M escolanze o f a d i s c u s s i o n r e g a r d i n g t h e m e r i t o f t h i s

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much-admired madrigal by the poet Jacques Bordier, Sieur de Rainey:

Chers Ennemis de mon r e p o s 5 Beaux y eu x , d o n t mon amour p r e n d s a f o r c e e t son e s t r e ; H e ia s ! p o urq uo y mal a p ro p o s Le m e c o n o is s e z -v o u s a p r e s I 1a v o i r f a i t n a i s t r e ? Sas d o u te , vou s c r a i g n e z de p a r o i t r e p l u s doux S i v o u s me p e r m e t t e z d ’ e x p o s e r d e v a n t vous L es v i o l e n s t r a n s p o r s de mon a r d e u r ex tre m e. M ais, o t r o p a im a b le s v a i n q u e u r s , S i vous n e v o u le z v o i r que j ' a im e , P o ur l e m oins voyez que j e m e u rs . 55. Wishing t o p l a y a t r i c k on C h a p e la in , who h a d c o n t e s t e d a d e c i s i o n o f t h e Accadem ici d e l l a C ru sca i n a l i t e r a r y d i s p u t e betvreen C h a p e la in and Menage r e g a r d i n g a p a s s a g e by P e t r a r c h , Menage con­ c e iv e d th e f o ll o w i n g p la n :

t r a n s l a t i n g R a i n e y 's m a d r ig a l i n t o

I t a l i a n , he s e n t i t t o t h e p o e t , s a y in g he h ad fou nd t h e poem among t h e Rime d i v e r s e o f T asso .

R ain ey l o u d l y p r o c la im e d h i s i g n o r a n c e o f

t h e I t a l i a n m a d rig a l and p r o t e s t e d a g a i n s t t h e c h a rg e o f p l a g i a r i s m . Thereupon Menage s e n t b o th poems t o C h a p e l a in , a s k i n g h i s ju dgm ent of th e ir r e la tiv e m e rit.

C h a p e la in , u n d o u b te d ly d a z z l e d by t h e name

o f T a s s o , p r o c la im e d h i s m a d r i g a l th e b e s t .

Menage, who h ad i n t h e

meantime d i s c o v e r e d a s i m i l a r m a d ri g a l b y G u a r i n i , s u b m it te d a l l t h r e e t o th e judgm ent o f a group o f l i t e r a r y men, many o f whom, l i k e C h a p e l a in , p r e f e r r e d th e m a d r i g a l by T a s s o . th re e e q u a lly .

P e l l i s s o n a d m ired a l l

Only Mme. de R a m b o u ille t p r e f e r r e d t h a t o f G u a r i n i .

F i n a l l y t h e i n t e l l e c t u a l M ile , de S cu dery s u s p e c t e d t h e t r i c k ,

th u s

f o r c i n g Menage to

of

confess.

No so o n er had he done so t h a n m ost

t h o s e whose judgm ent he had s o l i c i t e d had t h e b a d g r a c e t o r e c a n t ,

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p r o c la im i n g t h e m a d rig a l by Menage f a r i n f e r i o r t o t h e o t h e r two, a s i t u n d o u b te d ly i s .

Mne. de L a f a y e t t e was humanly d e l i g h t e d

t h a t n o t o n ly she b u t a l s o " l e s M tres du m e t i e r ,

. . . l e s C o star e t

l e s c h a p e l i n s " had been t r i c k e d , and co n clu d ed : i l m 'e s t g l o r i e u x d ' a v o i r e s t e trcm pde a u s s i b ie n queux. 54. The p u b l i c i t y given t o t h i s t r i c k shows t h e i n t e r e s t a r o u s e d by l i t e r a r y d i s c u s s i o n s o f t h i s k in d , b u t t h e i n c i d e n t a l s o i l l u s t r a t e s th e s c a r c i t y o f in d e p e n d e n t l i t e r a r y judgement w ith rega.rd t o th e m a d r i g a l.

Mehage co n clu ded o h i l o s o p h i c a l l y ,

b u t w ith a. t r a c e o f h u r t p r i d e : . . . t a n t ’ e v e r o , che l a fama fa. g ra n p a r t e d e l m e r i t o , e che s i ' v a d i e t r o p i u a l nome che a 1f a t t i , 55. Thus Menage a s w e l l a s Mme. de bevigne' r e f l e c t e d on th e p r e s t i g e l e n t t o th e m a d r ig a l by th e g l o r y o f a name.

S i m i l a r l y th e

s o c i a l p r e s t i g e o f th e H&tel de R a m b o u ille t had a f f e c t e d th e judgement o f th e G u irla n d e de J u l i e ,

and a p p e a r s to have

in f l u e n c e d t h e f u t u r e c o u rs e o f t h e French m a d r i g a l.

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99.

Chapter VI Popularity. Criticism and Defense of the Madrigal during the

1 7 th C entury The R e c u e ils C o l l e c t i f s a r e th e b e s t s o u rc e o f i n f o r m a t i o n c o n c e r n in g th e m a d r i g a l ' s s u c c e s s i n t h e 1 7 th c e n t u r y , f o r t h e s e c o l l e c t i o n s o f p o e t r y were s u p p o rte d by t h e g a l l a n t s o c i e t y f o r which t h i s v e r s e was w r i t t e n .

Many m a d r i g a l s , and among them

many o f th o s e which were most ad m ired , e v e n t u a l l y fo un d t h e i r way i n t o p r i n t i n t h e s e c o l l e c t i o n s .

M a d r ig a ls a r e f i r s t fo u n d i n

a R e c u e il C o l l e c t i f o f 1620 which c o n t a i n s s i x by d'Urfe^, some o f which had f i r s t a p p ea red i n 1 ' A s t r e e a s e a r l y a s 1607.

The

t a b l e which I have i n s e r t e d i n t h e Appendix shows t h a t m a d r i g a ls w ere n o t in c l u d e d i n l a r g e numbers i n t h e s e c o l l e c t i o n s b e f o r e 165.% b u t from t h a t tim e th e y m a in ta in e d t h e i r p o s i t i o n t o t h e end o f th e c e n t u r y .

I n t h e R e c u e ils o f C h a r le s de S ercy the;/

were p a r t i c u l a r l y numerous.

During t h e y e a r 1655, 104 o f t h e s e

poems were p r i n t e d i n v a r i o u s c o l l e c t i o n s .

Among them a r e tw e n t y -

f o u r ' f l e u r s ' from th e Guirlande de J u l i e o r w hich were i n t e n d e d f o r t h a t c o l l e c t i o n , and t h e i r p r e s e n c e l i n k s t h e C-u i r l a n d e w ith th e s u c c e s s o f th e m a d r ig a l i n t h e s a l o n s .

A llo w in g f o r a l a g

i n tim e f o r th e v e r s e t o f i n d i t s way i n t o p r i n t , i t a p p e a r s t h a t th e m a d r ig a l e n jo y e d i t s g r e a t e s t p o p u l a r i t y from th e y e a r s im m e d ia te ly f o l l o w i n g th e p r e s e n t a t i o n o f t h e G u i r l a n d e de J u l i e to th e end o f th e c e n t u r y .

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T h is p o p u l a r i t y b r o u g h t w ith i t c e r t a i n a b u s e s . O c c a s i o n a l l y t h e form was a d a p te d t o m a t t e r s m a n i f e s t l y u n su ite d f o r i t .

La M e s n a r d ie r e , whom T a lie m a n t d e s Beaux

d e s c r i b e d a s "une esp'ece de fou q u i n ’ e s t pas i g n o r a n t ” b u t one o f t h e w o r s t w r i t e r s he had e v e r k n o w n , i n c l u d e d i n a volume p u b l i s h e d i n 1656 t w e n t y - e i g h t m a d r i g a ls i n s p i r e d by t h e p s a lm s o r by p a s s a g e s o f t h e E ib ’l e .

A lth o u g h t h e r e l i g i o u s

m a d r i g a l was common i n I t a l y , where G u a r in i among o t h e r s had w r i t t e n such poems,

t h e r e was no F re n c h p r e c e d e n t f o r La

M e s n a r d i e r e 1s e x p e r im e n t.

U n lik e t h e r o b u s t p salm s o f M aro t,

t h e s e m a d r i g a l s i n c o r p o r a t e d a l l t h e I t a l i a n m an nerism s, such a s e x a g g e r a te d m etaph ors and p l a y s on w o rd s.

An a t t e m p t to

in tro d u c e in to r e li g i o u s p o etry th e a n t i t h e s e s o f th e I t a l i a n m a d r i g a l l e d La M e s n a rd ie re t o such e x p r e s s i o n s o f b ad t a s t e a s t h e f o ll o w i n g : M a d r ig a l.

La V ie r g e s a n s P a r o l l e , au n ie d de

J e s u s m o u r a n t. I I m e u rt, c e t E n f a n t p r e c i e u x , A u th eur de I 1E s t r e de s a Mere; E t dans v o s t r e d o u l e u r araere Vous p a r l e z s e u le m e n t de 1 ’ © s p i r i t e t d e s yeuxl V ie r g e , i l e s t v r a y ; p o u r ce m a lh eu r La p l a i n t e l a p l u s g r a n d e 1e s t t o u j o u r s t r o p p e t i t e . La L o u le u r q u i p e u t e s t r e d i t e Ne p e u t e s t r e d i t e D o u le u r . S. A p p a r e n tl y h i s poems met w ith th e i n d i f f e r e n c e th e y d e s e r v e d , f o r th e y were n o t i m i t a t e d by l a t e r F re n c h p o e t s .

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101.

However, such u n f o r t u n a t e e x p e rim e n ts a s t h a t o f La M e s n a rd ie re i n e v i t a b l y drew upon t h e m a d rig a l b o th c e n s u re and r i d i c u l e . C r i t i c i s m was d i r e c t e d e x p r e s s l y a t e f f o r t s to t r e a t i n th e m a d r i g a l form s u b j e c t s f o r which t h i s form wa-s n o t s u i t e d .

M o lie r e m ig h t have

had La M e s n a rd ie re i n mind when he w ro te t h e scen e i n w hich M a s c a r i l l e was made t o say: C ' e s t mon t a l e n t p a r t i c u l i e r j e t j e t r a v a i l l e a m e t t r e en inadrigaux t o u t e l ' h i s t o i r e ro m a in e .

4.

The p a s s a g e was ta k e n o v e r a lm o s t word f o r word by M ile . D e s j a r d i n s i n h e r R e c i t . . . de l a f a r c e d e s P r e c i e u s e s : M a scarille Le m a d rig a l me donne peu de p e i n e , E t mon g e n ie e s t t e l p o u r ees v e r s in e g a u x Que j ' a i t r a d u i t en m adrigaux, En un m ois, l ' h i s t o i r e ro m ain e. 5. C e rta in a f f e c t a t i o n s c h a r a c t e r i s t i c o f th e I t a l i a n m ad rig al were d e p l o r e d .

B o ile a u w ished to b a n i s h such a r t i f i c e s a s th e

' p o i n t e s ' , i n t r o d u c e d from I t a l y : J a d i s de nos a u t e u r s l e s p o i n t e s i g n o r e e s F u r e n t de 1 ' I t a l i e en nos v e r s a t t i r e e s •



*







Le m a d r ig a l d 'a b o r d en f u t e n v e lo p p e .

6.

Rapin c r i t i c i s e d t h e u se o f ' c o n c e t t i ' i n such l i g h t v e r s e : Le default l e p l u s u n i v e r s e l d e s p e t i t e s p i e c e s de V ers, c ' e s t q u 'o n y v e u t m e t t r e t r o p d ' e s p r i t . C ' e s t l e v i c e o r d i n a i r e d es E sp a g n o ls e t d es I t a l i e n s , qui cherchent to u jo u rs a d ir e l e s c h o ses f in e m e n t. 7.

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M o lie r e r i d i c u l e d t h e p la y on words i n Tri.s so t i n ’ s epig ram o r m a d r i g a l L ’ Amour s i cherement. in'a vendu son l i e n Q u ' i l m 'en c o u te deja. l a m o i tie ' de mon b i e n ; E t quand t u v o i s ce b e a u c a r r o s s e , Ou t a n t d ' o r se r e l e v e en b o s s e , E t f a i t pompeusement t r i o m p h e r ma L a i s Ne d i s p l u s q u ' i l e s t a m a ra n te Dis p l u t S t q u ' i l e s t de ma r e n t e . 8. T r i s s o t i n , whom M o lie re c r e a t e d w i t h C o tin , a u t h o r o f th e m a d r i g a l , i n mind, i s a p e d a n t a s p ro u d o f h i s e r u d i t i o n a s o f h i s p o e t i c g i f t s , and m ig h t have defen d e d h i s m a d rig a l w ith th e words used i n i t s d e fe n s e by C o tin : En f a v e u r d e s G recs e t d e s L a t i n s , e t de q u e lq u e s - u n s de nos F r a n c o i s q u i a f f e c t e n t ces r e n c o n t r e s de m o ts, j ’ay f a i t gr&ce a c e t t e Epigramme. 9 . M o lie r e may w e ll have a g re e d w ith P ap in t h a t p l a y s on words and o t h e r a f f e c t a t i o n s o f th e k in d were p e d a n t i c i m p o r t a t i o n s from S p a in and I t a l y o r from a n t i q u i t y r a t h e r th a n a n e c e s s a r y e le m e n t o f th e m a d r i g a l , b u t he w i s e l y l e f t such d i s c u s s i o n s t o th e c r i t i c s and a u t h o r s o f A rts P o e t i q u e s .

He p e r m i t t e d h i s a u d ie n c e t o d e c i d e

w h e th e r a r t i f i c e s and a b s u r d i t i e s were s u f f i c i e n t to damn th e m ad rig al a lto g e th e r . I n M a s c a r i l l e ' s Impromptu he p r e s e n t e d a t r a v e s t y o f t h e m a d r ig a l

sty le .

The l a d y ' s b e a u t i f u l e y es which s t e a l away th e

h e a r t o f h e r g a l l a n t were a common m o t i f i n t h i s ty p e o f v e r s e . Only th e ' t a p i n o i s ' and a few o t h e r d e f t to u c h e s were n eeded t o t u r n t h i s theme i n t o M a s c a r i l l e ' s m a s t e r p i e c e .

I t s comic w i t was a p a ro d y

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o f th e i n t e l l e c t u a l j u g g l i n g w ith which t h e s e t o p i c s were o f t e n tre a te d . M o lie r e l i k e w i s e r i d i c u l e d t h e l i t e r a r y p r e t e n s i o n s o f M a s c a r i l l e who, w it h o u t t h e s l i g h t e s t e f f o r t , had w r i t t e n more th a n a th o u s a n d m a d r i g a ls w hich were much so u g h t a f t e r i n th e r u e l l e s .

G a b rie l

G u e re t l a t e r a t t r i b u t e d t o such a m ateu r p o e t s o r 'm a r q u is " a p e r n i c i o u s i n f l u e n c e on F ren ch p o e t r y : I I e s t v r a y . . . que c e s e s p r i t s l i h e r t i n s ( l e s B u r le s q u e s ) o n t p r o f a n e l a P o e s i e : m ais l e p lu s gran d mal q u i l u i s o i t a r r i v d ne v i e n t p o i n t de l a . I I n ' e n f a u t a t t r i b u e r l a c a u s e q u ' a c e r t a i n s r im e u r s q u i f o n t l e s i l l u s t r e s s i - t o t q u ' i l s o n t f a i t un m echant M a d r ig a l ou q u e lq u e f r o i d Epigraimne. . . I I n ' y a g u e r e de M arquis q u i ne se p iq u e de v e r s i f i e r . 1 0 . F u r t h e r on, he b a p t i s e d them 'M arq u is a s o n n e ts e t a M a d r ig a u x ', and f i n a l l y p ro p o s e d a s A r t i c l e XII i n th e r e f o r m o f P a r n a s s u s : D effendons a t o u s M arquis de q u e lq u e c o n d i t i o n q i r ' i l s s o i e n t de f a i r e d es v e r s e t d e s M adrigaux en se p e i g n a n t , e t v o u io n s que l e s F o e t e s p o u s s e n t f o r t e m e n t l e s g ra n d e s p a s s i o n s , quand t o u s l e s Comeoiens en d e v r c i e n t c r e v e r . I S . The sc e n e in which C athos and Madelon p r a i s e d e x t r a v a g a n t l y t h e r i d i c u l o u s Impromptu o f M a s c a r i l l e was a p a ro d y o f th e l i t e r a r y d i s c u s s i o n s i n which women were t a k i n g an e v e i q g r e a t e r p a r t .

Its

a b s u r d i t y was pushed even f a r t h e r i n M ile . D e s j a r d i n ' s F a r c e , where Climene was made t o say w i t h r e s p e c t to M a s c a r i l l e ' s poem, h e r e term ed a m a d r i g a l (and n o t su n g ): Tout est juste, a mon sens.

Aux m e i l l e u r s m adrigaux i l p e u t f a i r e l a n i q u e , 1Z. E t ce h o i ho! hoi ho! v a u t m ieux q u 'u n poeme e p i q u e .

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104.

I n a more s e r i o u s v e i n , H uet d e p lo re d t h e new i n f l u e n c e o f women i n i n t e l l e c t u a l m a t t e r s : . . . comme a u i o u r d 'h u i parm i n o u s l a g a l a n t e r i e a ren d u l e s femmes a r b i t r e s du m e r i t e d e s ch o s e s q u i d e p e n d e n t, n o n - s e u le m e n t d e s s e n s , m ais a u s s i de I ' e s p r i t , e l l e s a b u s e n t de ce d r o i t q u 'o n l e u r l a i s s e u s u r p e r : . . . e t e lle s e n t r a i h e n t a l e u r s u i t e ceux q u i a p r e s l e u r a v o i r a b a n d o n n e 'l e u r c o e u r , l e s f o n t m a i t r e s s e s de l e u r e s p r i t . 1 4. A

H uet, who had a cc laim ed t h e G u irla n d e de J u l i e a s a m a s t e r p i e c e o f g a l l a n t r y , n e v e r t h e l e s s r e g r e t t e d th e encro a ch m en t o f t h e m a d rig a l on o t h e r t y p e s o f v e r s e .

S p eak in g o f C h a p e la in * s

P u c e l l e w hich he had t h e bad t a s t e t o a d m ire , h e co m p lain e d t h a t : On a ju g e ” du Poe me Epique s u r l e s r e g i e s d e s S onnets e t d e s M adrigaux. 15. and co n c lu d e d b i t t e r l y : N otre N a ti o n , n o t r e a g e , n o t r e g o u t , s o n t ennemis d e s gran d s o u v r a g e s , T o u t c.e q u i demande de 1 ' a p p l i c a t i o n nous r e b u t e . Une Ode nous e n n u ie de sa lo n g u e u r . A p e in e p e u t-o n s o u f f r i r un S o n n e t. N o tr e g e n ie se b o rn e fi l ' e t e n d u e du M a d r ig a l . Nous somraes dans l e s i^ c le . d e s c o l i f i c h e t s . T o u te n o t r e i n d u s t r i e ne va u u ' a f a i r e de f o r t g ra n d e s p e t i t e s c h o s e s . 16. Very p o s s i b l y he b e l i e v e d t h a t t h i s e x c l u s i v e f o n d n e s s f o r such l i g h t v e r s e a s t h e m a d r ig a l was due t o t h e i n f l u e n c e o f women i n t h e s a lo n s where l i t e r a r y t a s t e s were formed and m a d r i g a ls y-ere p o p u l a r . A ll o f t h i s c r i t i c i s m b rin g s i n d i r e c t p ro o f o f th e m a d r ig a l's

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s u c c e s s and o f i t s a d o p t io n i n t h e s a l o n s , where i t had many p a r t i s a n s .

As most o f t h e a t t a c k s had b een d i r e c t e d a g a i n s t

a b u s e s o f th e m a d r i g a l, i t s d e f e n d e r s a t t e m p t e d to show i t s le g itim a te p la c e .

The same c r i t i c s who a t t a c k e d p e r v e r s i o n s and

e x a g g e r a t i o n s o f t h i s .^ ig h t v e r s e o f t e n r e c o g n i z e d t h a t i t had i t s use.

T here i s no t r a c e o f i r o n y i n M a d e lo n 's so b er s t a t e m e n t

✓ "L es m ad rigau x s o n t a g r e a b l e s quand i l s

so n t b ie n to u r n e s " .

”1 7

Very s i m i l a r was t h e d e f i n i t i o n g iv e n by t h e P . Rapin: Le c a ra c t& r e d e s p e t i t s V ers . . . e s t l a n a iv e te '' jo in t- e a l a d e l i e a t e s s e . . . Le Rondeau e t l e u ia d r i g a l s o n t t r e s mechans des q u r i l s n e s o n t p a s t r e s - b e a u x : e t t o u t e l e u r beaute" c o n s i s t e d an s l e t o u r q u 'o n l e u r d o n n e . 18. H uet had p r s .is e d t h e g a l l a n t m a d r i g a l and t h e G u ir la n d e de J u l i e .

C h a r l e s P e r r a u l t , in tim a tin g ; th a t, t h e m e r i t o f a

poem s h o u ld n o t be ju dged by i t s l e n g t h , d e f i n e d t h e m a d rig a l a s a 'je u d 'e s p r i t ', Epigram m es".

19. *

c o n c lu d in g : " V iv e n t l e s M ad rig au x e t l e s I t s p l a c e was d e s c r i b e d w i t h more w it by

La F o n ta i n e : A l a S a m t - J e a n , ie p ro m ets m a d rig au x C o u rts e t t r o u s s e s e t de t a i l l e mignonne: Longue l e c t u r e en e t e n ' e s t p a s b o n n e. £0. B u t t h e b e s t d e f e n s e o f t h e m a d rig a l was im a g in e d by J a c a u e s de C a i l l y , who w ro te i n t h e p r e l u d e t o a volume o f h i s l i g h t v erse:

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A l a d e f e n s e d e s p e t i t s O uvrages Voyez ce g ra v e A u th e u r, l e s m ains s u r l e s r o i g n o n s , D ir e a nos M adrigaux, b a s p e t i t s corapagnons, V oicy mon g ra n d PoSme, i l f a u t l u y r e n d r e hommage. N o s t r e p e t i t l i v r e t s a n s c o l e r e en soC lrit, E t d i t au g r a ve A u th e u r, d o n t l e m e p ris 1 ’ o u t r a g e , Nous ne sommes p a s g r a n d s , m a is l e monde n o u s l i t .

21.

No more charm ing a p o lo g y co u ld b e im a g in e d , and i n f a c t a w e l l t u r n e d m a d r i g a l was i t s own b e s t champion i n th e s a l o n s w hich a p p r e c i a t e d such l i g h t v e r s e .

I n a c e n t u r y p r e o c c u p ie d w ith th e

d e s i r e t o p l e a s e , t h e m a d r ig a l w ith i t s w i t t y , g a l l a n t com plim ents was bound to be p o p u l a r .

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107.

Chapter VII French Madrigal Writers of the 17th Century and their Verse

D uring t h e second h a l f o f th e 1 7 th c e n t u r y , t h e r e was s c a r c e l y a p o e t o r w o u ld -b e p o e t who d i d n o t compose m a d r i g a l s . O ince no form was p r e s c r i b e d , th e m a d rig a l was p a r t i c u l a r l y a t t r a c t i v e to t h e a m a te u rs o r ' m a r q u i s ' , a s b o t h M o lie re and G u /re t t e s t i f i e d .

These w ould-be p o e t s c o u ld e x p e c t to a t t a i n &

c e r t a i n fame by composing such v e r s e f o r t h e s a l o n s and r u e l l e s . M a d rig a ls were a l s o w r i t t e n by p o e t s who f r e q u e n t e d a s s i d u o u s l y t h e s a l o n s a n a c i r c l e s where l i t e r a r y r e p u t a t i o n s were made and l i t e r a r y d i s c u s s i o n s were i n o r d e r .

L ike some o f

t h e p o e t s t a k i n g p a r t i n t h e Jo u rn e e d e s M a d rig a u x , th e y were o f t e n w i l l i n g t o w r i t e a m a d r ig a l a t t h e r e q u e s t o f a l e s s g i f t e d member o f t h e g roup .

Such was t h e m a d rig a l composed by P o ly a n d r e

o r S a r a s i n f o r P h ilo x e n e , t o 'He p r e s e n t e d t o Theodamas o r C o n r a r t . I* Some w ro te l i t t l e e l s e b u t l i g h t v e r s e .

Most famous of t h e s e were

M a tth ie u de Iviontreuil and M. de l a S a b l i e r e , whose l i t e r a r y p r o d u c t i o n was made up a l m o s t e n t i r e l y o f m a d r i g a l s . The g r e a t e s t w a i t e r s o f th e c e n tu r y d i d n o t d i s d a i n t h i s ty p e of v erse. F rance.

C o r n e i l l e ' s m a d r i g a l s were among t h e f i r s t composed i n La F o n ta i n e found t h i s l i g h t v e r s e m u c h 'to h i s l i k i n g .

The f o ll o w i n g m a d r ig a l by R acin e was p r o b a b ly w r i t t e n :a t U zes, in t h e p o e t ' s y o u th :

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Madrigal

S a v a n te s F i l l e s de Meraoire, J e ne vous im p o rtu n e pas P our s a v o i r c h a n t e r l e s com bats Ou p o u r a c q u e r i r de l a g l o i r e . H e l a s l j e ne vous f a i s l a co u r Que p o u r mieux p e i n d r e mon amour Aux b e a u x yeux de l a b e l l e C lim en e . Aussi, plein d'un juste courroux,

S i vous ne to u c h e z 1 ’ in h u m ain e, J e v a i s p r e n d r e conge de v o u s . 2. The c o m p o s itio n o f such v e r s e was an a g r e e a b l e p a s tim e o r game, and t h e m a d rig a l was s u r e t o b r i n g p l e a s u r e to t h e p e rs o n o r p e r s o n s f o r whom i t was i n t e n d e d . Nor were women s a . t i s f i e d t o have m a d r i g a l s w r i t t e n i n t h e i r h o n o r o r to d i s c u s s t h e l i t e r a r y m e r i t o f such v e r s e . Many o f them composed t h e s e poems t h e m s e l v e s .

Mine, de F .a m b o u ille t,

a s we nave s e e n , wa.s t h e a u t h o r o f a.t l e a s t one m a d r i g a l . were composed by M ile , de S c u d e ry .

Many

A lth o u g h i t i s d i f f i c u l t to

d i s t i n g u i s h t h e v e r s e o f Mme. de l a Suze from t h a t o f P e l l i s s o n , she i s r e p u t e d t o have w r i t t e n many m a d r i g a l s . poems a r e in c l u d e d among t h e N o u v c lle s p i e c e s p u b l i s h e d i n P a r i s i n 1665.

A. number o f such o f M ile . C e r t a i n ,

M ile . D esjard.i.ns, a u t h o r o f th e

R e c i t de l a F a r c e des ^ r e c i e u s e s , l e f t numerous m a d r i g a l s .

M ile .

D e s h o u l i e r e s and h e r m o th e r, who so g r e a t l y adm ired l 1A s t r e e t h a t she made a p i l g r i m a g e to F o re z i n t h e s p r i n g o f 1672, w r o te m a d r i g a l such a s th e f o l l o w i n g one, c o n t a i n i n g p a s t o r a l a l l u s i o n s : De c e s l i e u x f o r t u n e s q u ’ e s t - c e q u i vou s r a p p e l l e , Tendre e t g a l a n t B e r g e r , l 'h o n n e u r de n o s Hameaux? De v o t r e i r i s I ’a h s e n c e a f a i t une i n f i d e l l e , E t t o u t j u s q u ' a son Chien dan s son ai*deur n o u v e l l e Ecoute avec p l a i s i r l e son d es chalumeaux Du B e r g e r q u i trio ra p h e d ' e l l e . 5.

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These p o e t s produced m a d r i g a l s i n g r e a t num bers.

Jacques

de C a i l l y w ro te : Des M adrigaux, san s que j ' y pense I I ra'en v i e n t en grand ab o n d an c e.

4.

A p p a r e n tly h i s f a c i l i t y f o r w r i t i n g l i g h t v e r s e was e q u a l l e d by t h a t o f other p o e t s .

S in ce many o f t h e s e poems c i r c u l a t e d i n

m a n u s c r i p t, i t i s d i f f i c u l t t o e s t i m a t e th e e x t e n t o f t h e i r p ro d u c tio n .

The m a d r i g a ls o f M. de l a S a b l i ^ r e were f i r s t

p u b l i s h e d p o sth u m o u sly by h i s .son.

U ndoubtedly many o f th o s e

w r i t t e n by l e s s e r p o e t s have d i s a p p e a r e d a l t o g e t h e r .

They were

n e v e r p u b l i s h e d i n such q u a n t i t i e s a s i n I t a l y , where we have seen t h a t t h e p o e t Guasco i n c l u d e d 5110 m a d r i g a l s i n a s i n g l e volume.

M a s c a r i l l e , a u t h o r o f o v e r a th o u s a n d o f t h e s e poems,

a p p e a r s t o b e a g r o s s c a r i c a t u r e o f t h e F re n c h w r i t e r o f m a d r i g a l s , a l th o u g h h i s p r o d u c t i o n would b e c o n s id e r e d m o d e ra te f o r an I t a l i a n p o et. T h is v e r s e was v a r i e d i n c h a r a c t e r .

The fame o f t h e G u ir la n d e

and o f th e J o u r n e e d e s M adrigaux d i d n o t e n t i r e l y l i m i t t h e m a d r i g a l to g a l la n tr y .

Even b e f o r e t h e p r e s e n t a t i o n o f t h e G u i r l a n d e , t h e

form had b e e n u s e d , a s i n I t a l y , to t r e a t v a r i o u s s u b j e c t s .

The

two m a d r i g a ls by G uillaum e C o l i e t e t and M a i l e v i l i e a p p e a r in g i n t h e R e c u e il d e s u l u s b eaux v e r s

o f 1627- were d e d i c a t e d t o t h e s c u l p t o r

C ochet, whose m a rb le s t a t u e o f Dido was a r o u s i n g much a t t e n t i o n . The p r e s t i g e g iv e n t o th e m a d r i g a l by i t s u s e i n t h e G u ir la n d e a p p a r e n t l y encoura.ged p o e t s to w r i t e t h e s e poems on ev ery c o n c e iv a b l e occasio n .

They were s e n t a s th a n k s f o r a f a v o r r e c e i v e d

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110.

o r a s com plim ents t o an a u t h o r o r f r i e n d , and were composed a s coam ents on a r e c e n t e v e n t .

T h e ir c h i e f m e r i t and i n t e r e s t o f t e n l a y i n

a l l u s i o n s t o p e r s o n a g e s o r h a p p e n in g s o f t h e moment. As may be e x p e c te d , how ever, th e g r e a t e r p a r t o f t h i s v e r s e was g a l l a n t i n c h a r a c t e r o r lo v e p o e t r y .

W hile i t i s o f t e n p o s s i b l e t o

d o u b t th e e x i s t e n c e o f t h e la d y t o whom th e 1 6 th o t h e r c o l l e c t i o n s o f s o n n e ts were a d d r e s s e d ,

c e n t u r y Amours and

t h e l a d y whose b e a u t y

was

c e l e b r a t e d i n t h e g a l l a n t m a d r i g a l o f th e 1 7 th c e n t u r y a p p e a r s t o have b een i n a l m o s t e v e ry case a woman o f f l e s h and b l o o d .

The im a g in a r y

'L a u r a s ' o f t h e 1 6 th c e n t u r y had been r e p l a c e d by J u l i e o f t h e G u irlan d e.

As M o n tr e u il t e l l s u s , com plim en tary m a d r ig a ls were

w r itt e n f o r a p a r t i c u l a r person: M a d rig a l Vos yeux, s i b r i l l a n t s e t s i doux, Ne v o y o ie n t p a s l a lu m ie r e du monde L o r s q u 'o n f i t c e , s o n n e t; i l n ' e s t pas f a i t p o u r v o u s , Mais i l p e u t c o n v e n ir 1 l a b r u n e , 1. l a b lo n d e . Ce p e t i t m a d r ig a l n ' e s t f a i t que d 'a u j o u r d ' b u y , Vous l e pouvez p r e n d r e , i l e s t v o s t r e ; Croyez-moy, vous servir des louanges d'autruy, Ce s e r o i t vous p a r e r de l a ju p e d 'u n e a u t r e . 5. Such p o e t i c names as ' I r i s ' and ' P h i l i s 1, a p r o b a b le h e r i t a g e from 1 ' A s t r e e , v/ere t r a n s p a r e n t masks, h a l f - c o n c e a l i n g th e i d e n t i t y o f many a l a d y o f h ig h o r low d e g r e e , t o whom t h e poems v/ere addressed.

f* B o i s r o b e r t a d d r e s s e d te n m a d r i g a l s t o 'La B e l l e I r i s m a l a d e '. °*

i r i s was a l s o a name chosen by S a i n t P a v in , G i l l e s B o il e a u , C h a r l e v a l , C h a u lie u and P e l l i s s o n f o r some o f t h e l a d i e s com plim ented b y them. P a u l P e r r i n a d d r e s s e d a number o f m a d r i g a ls t o

' P h i l i s ' , as d id

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111.

F r a n c o i s C o l l e t e t and Claude de M a l l e v i l l e . f o r ' I r i s m a l a d e ', and ' S y l v i e 1.

Le P ays w r o te m a d r i g a l s

' S y l v i e ' and ' P h i l i s ' , and M aucroix f o r ' I r i s ’

W ith more o r i g i n a l i t y , M a r tin de P in c h e s n e ch o se

'D a fn e ' a s t h e name o f h i s l a d y .

M a tth ie u de M o n tr e u i l a p p e a r s n o t

t o have f a v o r e d any one p o e t i c name b u t u s e d a l l i n d i s c r i m i n a t e l y . O rb a in Chevreau in c l u d e d a number o f m a d r i g a l s 'P o u r une b e l l e E g y p t ie n n e ' i n h i s P o e s i e s o f 1656.

M. de l a S a b l i e r e o f t e n

c e l e b r a t e d i n ’v e r s e th e b e a u t y o f ' I r i s ' , a l l e g e d l y M ile . M arie V anghangel, b u t he a l s o a d d r e s s e d poems t o ' C l a r i c e ' , many o t h e r s .

' B e l i s e ' and

Such names were a d i s c r e e t d i s g u i s e f o r t h e l a d y

i n v o l v e d , b u t , a s i n c e r t a i n p a s t o r a l n o v e l s , i n c l u d i n g t h e Diana o f Montemayor, much p l e a s u r e was c e r t a i n l y d e r i v e d from a t t e m p t i n g to d isc o v e r h e r i d e n t i t y .

Even f o r t h e i n i t i a t e , t h e m y s te r y added

by such f i c t i t i o u s names m ust have enhanced t h e m a d r i g a l ' s v a l u e . The c o m p o s itio n o f t h e s e poems was o f t e n a game, J o u r n e e d e s M adrigaux.

a s i n th e

T h e i r com plim ents w ere u s u a l l y c o n c e iv e d i n

a l i g h t - h e a r t e d and o f t e n h a l f - i r o n i c m anner, and were n o t m eant to be ta k e n s e r i o u s l y .

Composed f o r a p a r t i c u l a r p e r s o n and f o r a

g iv e n o c c a s i o n , t h e y were c l e a r l y n o t w r i t t e n w i t h a view t o w inn in g l a s t i n g fame f o r t h e a u t h o r .

As P a v i l i o n s a i d i n a poem

a d d r e s s e d t o t.tenage, th e p o e t c o u ld f e e l h i m s e l f r i c h l y re w a rd e d i f h i s v e r s e b r o u g h t him a c e r t a i n r e p u t a t i o n and p u b l i c i t y i n t h e s a lo n s :

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112.

Madrigal.

A. M. Menage

Menage, on adm ire t e s v e r s On l e s l i t p a r t o u t l ' U n i v e r s . La C-rece s a v a n te e t p o l i e N 'a p o i n t de Muse p l u s j o l i e . Dans to n a g r e a h l e f o l i e , On s o u h a i t e to n h e u re a u x s o r t . Se f a i r e un nom p e n d a n t sa v i e , Iraposer s i l e n c e a l ' E n v i e , En v a n t a n t l e s a t r a i t s d 'u n e je u n e S i l v i e , Vaut b i e n mieux q u 'u n tombeau c e l e b r e a p r e s l a m o r t.

Yet some m a d r i g a ls s u r v i v e d th e moment f o r which t h e y were composed and a c h ie v e d a more l a s t i n g fame.

The

f o l l o w i n g example by T r i s t a n 1*H erm its had such f o r t u n e : Le S o u p ir Ambipu S o u p i r , s u b t i l e s p r i t de flam e Qui s o r s du b eau s e i n de Madame Que f a . i t son c o e u r , a p r e n s - l e moy? Me c o n s e r v e - t - i l b i e n l a foy? Ne s e r o i s t u p as 1 ' i n t e r p r e s t e D 'une a u t r e p a s s i o n s e c r e t e ? 0 CieuxI q u i d ' u n s i r a r e e f f o r t M is te s t a n t de v e r t u s en e l i e , D e s to u rn e z un s i m auvais s o r t : Q u 'e l l e ne s o i t i n f i d e l l e , E t f a i t e s p l u s t o s t que l a B e l l e V ienne a s o u p i r e r de ma mort Que non pas d 'u n e .amour n o u v e l l e . 8 .

F i r s t p u b l i s h e d i n 1688, i t was in c l u d e d i n th e R e c u e il de s e r c y

o f 1658 and o c c u r s tw ic e i n t h e m a n u s c r i p ts o f

C o n rart. B e n s e ra d e , a s F u r e t i b r e a s s u r e s u s , was famous f o r h i s m a d r i g a ls and v e r s e f o r b a l l e t s : M. de B enserade e s t un homme de n a i s s a n c e , d o n t l e s c h a n s o n n e t t e s , l e s M adrigaux e t l e s v e r s de B a l e t s , d 'u n t o u r f i n e t d e l i c a t , e t s e u le m e n t en ten d u p a r l e s h o n n e t e s gens de l a Cour, o n t d i v e r t i l e p lu s h o n n e te homme e t l e p l u s grand Roy du monde. 1 0 . G u e re t pro p o sed as models t h e m a d r i g a ls o f th e Abbe/

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7.

115.

ivlatthisu de M o n t r e u i l , one ox th e most p r o l i f i c a u t h o r s o f t h i s IT . v e r s e . They 7/ere oublished i n g r e a t Q u a n t itie s in th e R e c u e ils C o lle c tifs

a l l th ro u g h th e second h a l f o f t h e c e n t u r y . 1 2 *

Here

i s a m a d r ig a l w hich he w ro te: P o u r l a m a rq u ise de Sevigne'. j o u a n t a1 C o l l i n M aillard De t o u t e s l e s famous vous avez d r o i t de p l a i r e , Mais s u r t o u t vous s^av e z nous charm er en ce j o u r . V oyant vos yeux bande's, on vous prend p o u r 1 ' Amour; Les v o y a n t d e 'c o u v e r ts , on vous p ren d p o u r sa M ere. 15 . B ut he was b e s t known f o r in g e n i o u s love-poerns such a s t h i s : A u tre (M ad rig al) 5 u r un P o r t r a i t en t a i l l e - d o u c e P h i l i s de to n f i d e l e amant Regoy l e p o r t r a i t v e r i t a b l e , I I e s t p S le , e t s a n s mouvement; L n f in dans l ' e s t a t d e p l o r a b l e Ou l ' a mis to n e lo ig n e m e n t. 14. M. de l a d a b l i e r e , l i k e M o n tr e u i l a lm o s t e x c lu s iv e ly an a u t h o r o f m a d r i g a l s , was g e n e r a l l y r e c o g n is e d a s t h e m a s te r o f t h i s ty o e o f v e r s e .

R i c h e l e t s a i d o f him: Ses m adrigaux l u i o n t donne t a n t de r e p u t a t i o n , que t o u s ceux q u i se c o n n o i s s e n t en ce g en re de P o e s i e , o n t d i t que 1 ' Academia F r a n c o i s e l u i dev o it. f a i r e e x p e d i e r d es l e t t r e s de grand Iv ia d rig a lie r de f r a n e e . 15.

L a t e r R -ic h elet a t t r i b u t e d to C o n r a r t th e honor o f h a v in g bestow ed \ t h i s t i t l e on M. de l a L a b l i e r e . r>

i n a R e c u e i l de S ercy o f 1656. and 1660,

but

by h i s s o n .

18

17

16 *

*

His m a d r i g a l s f i r s t a p p e a re d

O th e r s w ere p r i n t e d i n 1658

a c o l l e c t i o n o f h i s works was n o t p u b l i s h e d u n t i l 1680 Towards th e end o f t h e c e n t u r y th e y were r e p r i n t e d

i n g r e a t numbers i n t h e R e c u e i l s C o l l e c t i f s .

19. ’

Sometimes a n o te

o f m e la n c h o ly a p p e a rs i n t h e s e poems, as i n t h e f o l l o w i n g m a d rig a l:

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

114.

XXII

Rien n e d u r e s i peu que l e temps d es p l a i s i r s , La g r a c e , l ’ en jo u m en t, l a b e a u t e , l a je u n e s s e p : On a b i e n t o t p e rd u ce q u i f a i t l a t e n d r e s s e ; I I ne r e s t e que l e s d e s i r s ; E t c e p e n d a n t, au l i e u d ' e n t i r e r q u elq u e u sag e L ’on p a s s e t r i s t e m e n t son Sge Ne v o u l a n t p a s ce que l ’ on p e u t , Ne p o u v a n t p a s ce que l ’on v e u t . 2 0 . B u t more o f t e n t h e y a r e gay:X V III

P o u rq u o i me fu y e x -v o u s , c r u e l l e ? Mes r e g a r d s a u r o i e n t - i l s c a u s e v o t r e c o u rro u x ? Endurez s e u le m e n t que j e v o u s t r o u v e b e l l e ; C ' e s t t o u t ce que j e veux de v o u s . 21. The b e s t o f t h i s l i g h t v e r s e d e s e r v e s t o b e c i t e d , i f o n ly as

an i n d i c a t i o n

o f t h e g a y e ty and l i f e which f i l l e d t h e s a l o n s

of

th e 1 7 th c e n t u r y , where many o f t h e g r e a t w r i t e r s o f th e

p e r i o d r e c e i v e d an e s s e n t i a l p a r t o f t h e i r t r a i n i n g i n th e • a r t de p l a i r e ’ .

T hese s l i g h t poems w ere a p p r e c i a t e d by

Mme. de S e v ig n e , La F o n t a i n e , C o r n e i l l e and R a c in e , t o speak o f o n ly a few who w ro te a b o u t o r composed m a d r i g a l s .

Such l i g h t

v e r s e a s t h e m a d r i g a l , which was i n more im m ediate c o n t a c t w ith t h e d a i l y l i f e o f t h e 1 7 th c e n t u r y t h a n l i t e r a r y works o f more p r e t e n s i o n , r e f l e c t s b o t h t h e t a s t e o f t h e tim e and t h e l i g h t ­ h e a r t e d n e s s o f t h e ’ Grand S i e c l e ’ . I t i s now p o s s i b l e t o p l a c e t h e m a d rig a l i n i t s p r o p e r r e l a t i o n t o t h e l i t e r a r y movements o f t h e 1 7 th c e n t u r y .

From

t h e d i s c u s s i o n i n t h e p r e v io u s c h a p t e r s i t a p p e a r s t h a t t h e G u ir la n d e de J u l i e i n 1641 and t h e J o u r n e e d e s M adrigaux i n 16.53 had f i r m l y e s t a b l i s h e d t h e m a d r i g a l and g iv e n i t g r e a t p r e s t i g e b e f o r e th e triu m p h o f t h e c l a s s i c s c h o o l o f 1660.

The R e c u e i l s

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

C o l l e c t i f s a l s o show t h a t it. was a p o p u la r 1 form betw ee n 1650 and 1660. M o l i e r e ' s a t t a c k , a p p e a r in g i n 1659 w ith th e P r ^ c i e u s es R id i c u l e s , came a t t h e t h r e s h o l d o f t h e c l a s s i c p e r i o d , i n s t i t u t e d i n 1660.

Yet n e i t h e r th e a t t a c k s o f M o lie r e ,

d i r e c t e d l a r g e l y a t a b u s e s o f th e form , n o r t h e trium p h o f t h e c l a s s i c s c h o o l k i l l e d th e m a d r i g a l .

Much o f M. de l a

S a b l i e r e ' s v e r s e must have been w r i t t e n aro und 1660, end th e m a d rig a l m a in ta in e d i t s p l a c e i n t h e R e c u e ils Co l l e c t i f s t o t h e end o f t h e c e n t u r y .

A lso , many o f th e m a d r i g a ls o f

i n d i v i d u a l a u t h o r s were p u b lis h e d w ith t h e i r works i n t h e l a t t e r p a r t o f th e 1 7 th c e n t u r y .

A p p a re n tly t h i s l i g h t v e r s e rem ained

i n f a v o r a l l d u r in g t h a t tim e , even among t h e g r e a t e s t w r i t e r s o f th e c l a s s i c p e r i o d . M. M0r n e t h as r e c e n t l y s a id : I I y a v e r s 1659 deux gran d s c o u r a n t s dans l a s o c i e t e c u l tiv e 'e : l a v i e mondaine avec son g o u t de l a c o n v e r s a t i o n , e t 1 ' e m a n c ip a tio n i n t e l l e c t u e l l e d e s femmes .... e t l a P r e c i o s i t y se con fo na avec eu x . 22. S in ce t h e m a d rig a l was l i n k e d b o th w i t h t h e l i f e o f t h e s a l o n s and w i t h t h e i n t e l l e c t u a l d i s c u s s i o n s i n w hich women were t a k i n g a new p a r t , i t may a l s o be said, t h a t it- was i n t h e v e r y c e n t e r o f t h a t e l u s i v e and i n d e f i n a b l e ^ r e c i o s i t e l

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116.

Chapter Vill The Madriga1 ant], the Epigram

S in c e t h e m u s ic a l m a d r ig a l was n e v e r a b l e t o g a in a f o o t h o l d i n F r a n c e , t h e F ren ch m a d r i g a l c o u ld n o t b e d e f i n e d , l i k e t h e I t a l i a n form o f t h e 1 4 th c e n t u r y , b y i t s r e l a t i o n t o m u sic .

As i n I t a l y i n th e 1 6 th c e n t u r y , F re n c h c r i t i c s

and t h e o r i s t s found i t d i f f i c u l t to d i s t i n g u i s h t h e s e poems from o t h e r t y p e s o f l i g h t v e r s e and t o g iv e an i n c l u s i v e d e f i n i t i o n o f t h e form . Some a t t e m p t s w ere made to d e f i n e t h e c o m p o s itio n b y i t s fo rm . E s p r i t A u b e rt th u s d e s c r i b e d t h e co n tem p o rary m a d r i g a l , a s opposed t o t h a t o f Ronsard: I I y en a d ' a u t r e s s o r t e s , s c a v o i r en D ic o l e s ou T r i c o l e s u s i t e z e n t r e l e s m odernes: en v o ic y ch es D u r f e " C ' e s t A d i r e m e sle z de Communs ou A le x a n d r in s av ec de l y r i c u e s . 1 . I f t h e te rm s d i c o l e s ana t r i c o l e s , a p p a r e n t l y i n v e n te d by A u b e r t, may b e c o r r e c t l y t r a n s l a t e d , a s ' c o u p l e t s ' and ' t i e r c e t s ' , h i s d e s c r i p t i o n s c a r c e l y f i t s th e exam ples he g i v e s o f m a d r i g a l s t a k e n from l 'A . s t r e 'e , f o r some o f t h e s e c o n t a i n q u a t r a i n s , and t h e r e a r e a few in d e p e n d e n t l i n e s . L ik e E s p r i t A u b e rt, G uillaum e C o l l e t e t d e s c r i b e d t h e m a d r i g a l a s a .f o r m c a p a b le o f com bining l i n e s o f v a r i e d l e n g t h , b u t he came n e a r e r to an e x a c t d e s c r i p t i o n by p r e s c r i b i n g no p a t t e r n f o r th e l i n e s : Le M a d rig a l . . . se f a i t . . . de t o u t e s s o r t e s de v e r s , p r e s q u e to u s d i f f e r e n s de r im e , s o i t A le x a n d r i n s , L i r i q u e s , ou Communs, t o u s e n t r e m e s le z dans l e me sine Poeme . . . e t l e nonib r e de s e s v e r s k l a v o lo n teT du Po'ete j u s q u ’a d i x - n e u f . 2 .

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112.

w i l e . D e s j a r d i n s a l s o spoke o f ' c e s v e r s in ^ g a u x ' f o r which M a s c a r i l l e had a p a r t i c u l a r t a l e n t .



P n e r o te e de l a C ro ix gave

tiie f o l l o w i n g d e f i n i t i o n : Le 7, ou de

m a d rig a l e s t compose'’ d iv e r s e r a e n t, ta n t o t de 3 , 9 ,1 0 , 1 4 ,1 6 Vers en P apon’ de Q u a t r a i n s , I ' o n mele q u e l q u e f o i s de p e t i t s v e r s avec g ra n d s . 4.

J-et m a d r i g a ls were o f t e n composed o f l e s s th a n seven l i n e s , i f r a r e l y o f more th a n s i x t e e n , and n o t a l l were made up o f q u a t r a i n s . A l l a g r e e d t h a t th e m a d r i g a l co u ld be composed o f l i n e s o f unequal le n g th . a r r e s t a tte n tio n ,

T h is c h a r a c t e r i s t i c f e a t u r e c o u ld s c a r c e l y f a i l to s in c e th e s e poems were most f r e q u e n t l y composed

o f th e ' v e r s f i b r e s ' which t h e y had r e - i n t r o d u c e d i n t o F r a n c e . However, f r e e v e r s e had sp read r a p i d l y from t h e m a d r i g a l to o t h e r ty p e s o f v e r s e .

M a d rig a ls were o c c a s i o n a l l y i n s e r t e d i n t h e 'L i v r e s

de B a l l e t s ' o r l e a f l e t s p r e s e n te d t o t h e s p e c t a t o r s o f th e b a l l e t and c o n t a i n i n g v e r s e p r a i s i n g th e p a r t i c i p a n t s L 'H e r m ite w ro te one o f th e s e poems

o r o n lo o k e r's .

T ristan

P our M. l e Comte de S a i n t

Aipnan r e p r e 's e n t a n t un Mai s t r e de M usicue en un B a l l e t . ^ -

In

t h e R e c u e ils de C p n r a r t a r e t h r e e m a d r i g a l s from t h e B a l l e t du r a v i s s e m e n t d 'a m o u r ,^* and B en se ra d e w ro te a m a d r i g a l f o r th e B a l l e t . Roy a l d e s Ho p c e s de P e r l e s e t de T h e t i s , P an sd 1 p a r sa Ma.jeste en 1654, P our l e Comt e de S. Aignan r e p r e ’s e n t a n t un demi Dieu M a rin . W hile t h e s e exam ples a r e c o m p a r a ti v e ly r a r e , t h e ' v e r s l i b r e ' , f i r s t used f o r th e B a l l e t d e s nenorm.iees o f I P £2, was v e ry commonly used a f t e r t h a t , n o t o n ly i n m a d rig a ls b u t i n a l l ty p e s o f v e r s e i n s e r t e d

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118.

O

i n th e s e l e a f l e t s .

"

The ' v e r s l i b r e ' a l s o in v a d e d th e e p ig ra m ,

a l th o u g h n o t t o any e x t e n t b e f o r e t h e .middle o f t h e c e n t u r y .

A fte r

1650, i r r e g u l a r v e r s e s p re a d so r a p i d l y t h a t i t a lm o s t e n t i r e l y r e p l a c e d t h e s t r o p h i c l y r i c , form .

10.

Thus t h e f r e e v e r s e form had c e a s e d to

be a d i s t i n g u i s h i n g f e a t u r e o f th e m a d r i g a l. As i n •Lt n l y , a l l a t t e m p t s to d e f i n e m a d r i g a ls by t h e i r form a lo n e f a i l e d , s i n c e th e y had become s i m i l a r in p a t t e r n to o t h e r s h o r t poems e n t i t l e d A i r s , Bouquet s , impromptu.1:- or E p ig ra m s , which c o u ld be composed o f any ty p e o f v e r s e .

To add t o t h e c o n f u s io n , m a d r i g a l s

were sometimes composed i n th e form o f r e g u l a r q u a t r a i n s , s t a n c e s , d i x a i n s o r o t h e r t r a d i t i o n a l ty p e s o f v e r s e .

T h ere a r e t r a c e s o f

th e I t a l i a n form o f th e 1 4 th c e n t u r y in some o f d ' h r f e ' s m a d r i g a l s and th e t r a d i t i o n a l p a t t e r n o f t e n re a p p e a r e d d u r i n g t h e c e n t u r y , b u t d 'U r f e a l s o u s e d th e q u a t r a i n . p lu s Beaux v e r s

R a c a n 's two m a d r i g a ls i n th e R e c u e il d e s

o f 16B7 a r e d i x a i n s , d i f f e r i n g o n ly s l i g h t l y from

t h e p a t t e r n s evolved, by M alherb e. in l'A s t r e e.

The s t r o p h i c form , a l s o a p p e a r in g

was a c c e p te d a s a l e g i t i m a t e ty p e o f m a d r i g a l and

f r e q u e n t l y used by o t t e r p o e ts d u r in g th e c e n t u r y . Most d e s c r i p t i o n s o f th e F rench m a d rig a l o f t h e 1 7 th c e n t u r y d e f i n e d i t by c o n t r a s t i n g i t w ith t h e e p ig ra m .

A few a t t e m p t s were

ms.de t o d i s t i n g u i s h between t h e two by t h e i r form a l o n e .

A cco rd in g

to C o tin , t h e m a d r i g a l ' s p e c u l i a r h e r i t a g e was t h e ' v e r s

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119.

l i b r e ' , whose u s e i n th e ep ig ra m he d e p r e c a t e d , ^ " * p r o b a b ly b e a r i n g i n m ind, as m odels, t h e r e g u l a r ep ig ra m s o f M arot and h is fo llo w e rs.

At t h e end o f t h e c e n t u r y , M ich el Marques

made t h e f o l l o w i n g d i s t i n c t i o n b etw een t h e two t y p e s o f v e r s e : L'Epigramme e t l e M a d rig a l d i f f e r e n t e n t r ' e u x p a r l e nombre d e s v e r s , q u i ne v a p a s a u - a e s s u s de h u i t p o u r 1'Epigram m e m oderne, comme i l ne d e sc e n d p a s a u - a e s s o u s de s i x p o u r l e m a d r i g a l .

II?.

Such f o r m a l d i s t i n c t i o n s , h o w ever, w ere n o t u n i v e r s a l l y o b s e r v e d by t h e p o e t s , and t h u s c o r r e s p o n d t o no r e a l i t y . Commonly t h e m a d rig a l was d i s t i n g u i s h e d from t h e ep ig ra m by s u b j e c t - m a t t e r .

Vion D a l i b r a y d e s c r i b e d i t a s "une s o r t e

d'Epigramme am oureux".

15.

T h is d e s c r ip t io n r e c u r s c o n tin u a lly

and a p p e a r s i n t h e d i c t i o n a r y o f R i c h e l e t . ^ *

N ot c o n t e n t

w ith l i m i t i n g t h e c o n t e n t o f t h e m a d r i g a l , many c r i t i c s w ent f u r t h e r , e x c lu d in g from i t t h e w i t and i n g e n u i t y w hich were p e c u l i a r t o t h e ep ig ra m .

G uillaum e C o l l e t e t spoke o f " c e s

. . . . . 15. g e n t i l s M ad n g au x e t . . . c e s Epigrammes i n g e n i e u s e s " ,

and

F u r e t i e r e d e s c rib e d th e m ad rig al a s fo llo w s: P e t i t e P o e s ie am o u re u se , composee d ' u n p e t i t nombre de v e r s l i b r e s e t in e g a u x , q u i n !a n i l a g esn e d 'u n s o n n e t , n i l a s u b t i l i t e ' d ’u n e Epigramme, m ais q u i se c o n t e n t e d 'u n e p e n s£ e te n d re e t a g re a b le . 16. As we have s e e n , b o t h B o il e a u and R apin ?;ished t o b a n i s h from such l i g h t v e r s e t h e a r t i f i c e s , t h e ' p o i n t e s ' o r ' c o n c e t t i ' in t r o d u c e d from I t a l y .

B o ile a u f u r t h e r lim ite d b o th th e

s u b j e c t and manner o f t h e m a d r i g a l : Le M a d r ig a l , p l u s s im p le e t p l u s n o b l e en son t o u r , R e s p ir e l a d o u c e u r , l a t e n d r e s s e , e t 1»am our. 1 7. The te n d e n c y o f t h e s e c r i t i c s was a l l to w ard s t h e b u i l d i n g

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120.

up of definite barriers to separate the madrigal from

e v e ry o t h e r ty p e o f v e r s e .

G u e re t u rg ed :

S u iv o n s t o u j o u r s n o t r e n a t u r a l : ne s o r t o n s p o i n t qu g e n re q u i nous e s t p r o p re . . . L a i s s o n s . . . l e m a d rig a l a l ' a b b e de M o n t r e u i l , •l e s o n n e t d M alherbe e t a Goinbault, l ’ epigramme a Maynard. 18 . Yet such e x c l u s i v e r i g h t s were n o t r e c o g n iz e d by th e p o e t s . The c l o s e a s s o c i a t i o n o f t h e two ty p e s o f v e r s e was r e c o g n i s e d by o t h e r c r i t i c s and t h e o r i s t s * among them G uillaum e C o l l e t e t who b e l i e v e d t h a t t h e m a d r ig a l e n t i r e l y r e p l a c e d t h e epigram i n I t a l y and S p a in : . . . c a r q u a n t aux I t a l i e n s e t aux E s p a g n o ls , on petit d i r e que l e u r g e n t i l m a d rig a l l e u r t i e n t l i e u d ’Epigramme, d o n t i l s n ' o n t p a s e n c o re i n s e r e l e nom dans l e u r s P o e s i e s , m ais d o n t i l s em ployent a g re a b le m e n t l e s p l u s n o b l e s s u j e t s sous c e t a u t r e t i t r e s i conrm e t s i f a m i l i e r parm i eux. 19. 20. T h is b e l i e f was a c c e p t e d b y many o t h e r t h e o r i s t s . Such a b e l i e f l e d c e r t a i n c r i t i c s t o s e a r c h f o r f u r t h e r a n a l o g i e s betw een t h e m a d rig a l and t h e epigram o f a n t i q u i t y .

C o tin

w ro te e x h a u s t i v e l y o f t h e a n c e s t r y o f t h e m a d r i g a l, r e l a t i n g i t n o t o n ly t o t h e r e g u l a r G reek and L a t i n epigram b u t t o t h e c h o r u s e s i n i r r e g u l a r v e r s e o f a n t i q u e t r a g e d i e s , t h e P r o v e r b s o f Solomon and c e r t a i n p a s s a g e s o f t h e C a n tio u e d e s C a n t i q u e s . He c o n c lu d e d . Les i n v e n t e u r s du M ad rig al o n t e s t e l e s p r e m i e r s f a i s e u r s de v e r s ; e t quoy que nous ne c o n n o i s s i o n s g u e r e s que l e s G recs e t l e s Romains p o u r l ' a n t i q u i t e , c e l a n 'e m p e sc h e p a s q u ' i l n ’y en a i t eu d ' a u t r e s , s o i t chez l e s S y r i e n s , s o i t chez l e s P a r s e s , e t dan s l e fo n d d e s I n d e s mesmes. 21. Not o n ly d id C o tin see a n a l o g i e s , b u t he b e l i e v e d t h a t

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

Greek models had i n f l u e n c e d d i r e c t l y t h e f o r m a t io n o f th e I t a l i a n m a d rig al.

The form m a n d ra ,su p p o se d ly g i v i n g m a d r i g a l e ,

d e r i v e d from t h e Greek.

0o



he

I n tr o d u c e d i n t o P ro vence th r o u g h M a r s e i l l e ,

th e Greek m a d r i g a l, word and form , would th e n c e have passed i n t o Ita ly .

S im u lta n e o u s ly , he s u g g e s te d , i t m igh t have e n t e r e d

th ro u g h S i c i l y .

T his ty p e o f p o e t r y , f r e e in form , "un peu £> *7

l i b e r t i n e e t un peu p i o u a n t e s e lo n l e gi/nie de 1 'Epigramme", was l a t e r d e v o te d c h i e f l y to lo v e and g a l l a n t r y .

From a.

p a s t o r a l song, i t became a f a v o r i t e o f k in g s and p r i n c e s , t h u s g a i n i n g i n r e f in e m e n t and d e l i c a c y w h ile i t r e t a i n e d c e r t a i n o f i t s o rig in a l featu res. I t s supposed d e r i v a t i o n from a Greek form e x p l a i n e d th e m a d r i g a l ' s t r e a t m e n t o f a l l t h e s u b j e c t s p e c u l i a r t o t h e epigram and i t s use o f th e epig ram m atic m anner.

C o tin t h u s defen ded h i s

own m a d r i g a l s , s t a t i n g t h a t t h e i r a n c e s t r y p e r m i t t e d c e r t a i n lib e rtie s: S i o u e lq u e s uns d e s m iens s o n t un peu p iq u a n s e t un peu l i t r e s , p u i s q u 'o n d i t que l'E pigram m e v e u t l a p o i n t s : ces M adrigaux s o n t des e n f a n s q u i t i e n n e n t aucunement de l e u r m e r e . 2.4. I n h i s d e f i n i t i o n o f th e m a d r i g a l, C o tin a s s e r t e d t h a t i t c o u ld and d i d t r e a t every s u b j e c t , a lth o u g h he m a in ta in e d t h a t l o v e and g a l l a n t r y sho uld be and were i t s main c o n c e rn .

Mme.

de S e v i g n e 's i n s i g h t l e d h e r to r e c o g n i z e t h e m a d rig a l and ep ig ra m as com plementary form s o f v e r s e , b u t she w i s e l y d id n o t d e f i n e t h e l i m i t s o f each when she virote to h e r d a u g h t e r i n 1680:

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

J e s u i s un peu f a e h e e que vous n ’ a im ie z p o i n t l e s m adrigaux: ne son t—i l s p a s l e s m a r i s d es ^pigrammes? Ce s o n t de s i j o l i s menages quand i l s s o n t t o n s . 26. The d i c t i o n a r y o f t h e Academy, a l l e g e d l y d e f i n i n g c u r r e n t u s a g e , d e s c r i b e d t h e m a d rig a l a s f o ll o w s : S o r t e de p o e s i e f o r t sem b lab le a l ’Epigramme, q u i r e n fe rm e dans un p e t i t nombre de v e r s xme p e n s e e g a l a n t e e t i n g e n i e u s e . 27. Thus,

a t th e end o f th e c e n t u r y , i n g e n u i t y was r e c o g n i s e d

q u a lity n e c e ssa ry f o r m a d rig al-w ritin g , as e p ig ra m s .

as a

f o r t h e c o m p o s itio n

of

B ut i t was n o t u n t i l th e f o ll o w i n g century'’ t h a t such

c r i t i c s a s l ’Abbe B a t te u x a c c e p t e d a s an e s s e n t i a . ! p a r t o f t h e m a d r ig a l t h e ep ig ra m m a tic en d in g w ith o u t which he a s s e r t e d t h a t t h i s l i g h t 28. v e r s e would b e m e re ly i n s i p i d . Such was t h e th e o r y o f t h e m a d rig a l; i n p r a c t i c e t h e r e was c o n s i d e r a b l e c o n f u s io n betw een i t and v a r i o u s o t h e r ty p e s o f v e r s e such a s B o u q u e t s . Im prom ptus, A ir s and e p ig ra m s .

B o u q u ets

and Impromptus were r e l a t i v e l y u n im p o r ta n t a s v e r s e fo rm s .

The

l i t e r a r y c h a r a c t e r o f th e m a d r i g a l s e rv e d t o d i s t i n g u i s h i t from th e m u s ic a l A i r .

B ut th e c l o s e a s s o c i a t i o n o f epig ram and m a d r i g a l ,

r e c o g n i s e d by c e r t a i n c r i t i c s , was to a f f e c t th e l a t t e r 1s d ev elo p m en t co n sid era b ly . S in c e t h e i n t r o d u c t i o n o f t h e ’v e r s l i b r e ’ i n t o t h e e p ig ra m , i t s form was no l o n g e r e s s e n t i a l l y d i f f e r e n t from t h a t o f t h e m a d r i g a l.

The two were f u r t h e r r e l a t e d by th e e le m e n t o f c o n t r a s t

common to b o t h , ta.king th e form o f s t r o n g a n t i t h e s e s .

The c o n f u s io n

betw een m a d r i g a l and ep ig ra m , common i n I t a l y , a l s o e x i s t e d i n th e F rench

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1?.?.

tra d itio n .

M a r o t's e p ig ra m s , whose f o r m a t io n had been i n f l u e n c e d

by the Italian strambottists of the 15th century, had received from

I t a l y c e r t a i n t r a i t s which were l a t e r to c h a r a c t e r i z e t h e I t a l i a n m a d rig a l.

Some o f h i s am atory epigram s a r e so c l o s e t o t h e s t y l e o f

the madrigal that they were proposed as models for that composition

by some 1 3 th c e n tu r y c r i t i c s .

p 9

" *

Le Ouy e t l e Menny ana o t h e r e p ig ra m s

were f r e q u e n t l y i n c lu d e d i n 1 8 th c e n t u r y R e c u e ils C o l l e c t i f s w ith t h e t i t l e o f ’m a d r i g a l 1 .

The example o f Ma.rot th u s c o n t r i b u t e d to t h e

c o n f u s io n betw een m a d rig a l and ep igram . Sometimes b o th t i t l e s were a p p l i e d i n d i s c r i m i n a t e l y to th e same poems.

Guillaume Colletet included thirteen short poems en-

t i t l e d m a d r i g a l s i n h i s c o l l e c t i o n o f Epigrammes. ,J *

We have

s e e n t h a t a l th o u g h C o tin gave t h e t i t l e o f 'm a d r i g a l 1 to h i s poem S u r un C a r r o s s e de C o uleur A m arante, he r e f e r r e d to i t a s an epigram i n d e f e n d in g t h e p la y on words w hich i t c o n t a i n e d .

Jacques

de C a i l l y , i m p a t i e n t o f r i g o r o u s d i s t i n c t i o n s betw een t h e epigram and o t h e r s i m i l a r c o m p o s itio n s , w ro te i n th e p r e f a c e o f a volume o f h i s v e r s e c o n t a i n i n g a. number o f m a d r i g a l s : La p l u p a r t au monde a p p e l l e c e l l e s - c y d es Epigraramesj m ais on m 'o b l i g e r a f o r t de ne me p o i n t q u e r e l l e r s u r ce m ot, e t de ne p o i n t a l l e g u e r que c e l l e - c y ou e e l l e - l S n ' a p o i n t 1 ' a i r , l e to n ou l a p o i n t e de l'E p ig ra m m e . S ' i l a r r i v e q u e l q u e s f o i s que j ' en ay e f a i t u n e , e t que l e L e c te u r en s o i t c o n t e n t , j e m'en r e j o u i r a y avecque l u y ; mais p o u r raoy j e n ' a y ja m a is a f f e c t s de f a i r e ny Epigramme ny a u t r e c h o se . 31.

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124.

I n h i s P o e s ie s d i v e r s e s o f 1658, Georges B r e b e u f in c l u d e d " l a C-ageure ou c e n t c i n q u a n te Epigrammes e t M adrigaux c o n t r e d e s femmes f a r d e e s " . The poems, a l l on t h e same s u b j e c t , a r e n o t i n d i v i d u a l l y e n t i t l e d e i t h e r 'm a d r i g a l ' o r ' e p i g r a m '.

The f i r s t volume o f t h e R e c u e il

d e s p l u s b e l l e s Epigrammes d es p o e t e s f r a n g o i s d e p u i s M arot jusqu^a. p r e s e n t , p u b l i s h e d i n P a r i s in 1698, c o n t a i n s n i n e t e e n m a d r i g a l s , f o u r t e e n by Ivl. de la Sablifere, two

each by Montreuil and Mine. Deshouli£res,

and one by R i c h e l e t . Senec€ was to i n c l u d e

i n h i s Epigramme s ,

p u b l i s h e d i n 1717, th e m a d r i g a l s which he w r o te f o r t h e f e t e g iv en by t h e k i n g , i n honor o f t h e D uchesse de B ourgogne. Not o n ly was t h e r e p o ets also

t r e a t e d i n th e

c o n f u s io n betw een t h e two t i t l e s ;

c e rta in

m a d r i g a l s u b j e c t s which had f o r m e r l y been

r e s e r v e d e x c l u s i v e l y f o r th e e p ig ra m .

There seemed t o be an added

p iq u a n c y i n c l o t h i n g an im p ie ty o r an o b s c e n i t y i n t h e form o f a m a d r i g a l , g e n e r a l l y r e s e r v e d f o r t h e e x p r e s s i o n o f g a l l a n t co m plim ents. The m a d rig a l t h u s a p p e a r s t o have b e e n on t h e f r i n g e o f t h e l i b e r t i n e movement o f th e 1 7 th c e n t u r y . I t i s c u r i o u s l y r e v e a l i n g t o f i n d a c o n s i d e r a b l e number o f such m a d r i g a l s s c a t t e r d th ro u g h th e t h r e e m a n u s c r i p t R e c u e i’Ls

l e f t by

t h e r e s p e c t a b l e C o n r a r t, s e c r e t a r y o f th e Academy and a d m ir e r o f M ile , de S c u d e ry .

Among them a r e th e l i c e n t i o u s a d a p t a t i o n a l r e a d y m en tioned

o f G u a r i n i ' s m u c h -im ita te d " T i r s i rn o rir v o l e a " ,

and a number o f

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125.

2 /

m a d r i g a ls by S a i n t P a v in "

and M aucroix.

OO



y

M. L ac h b v re q u o te s a n o t h e r

such m a d r i g a l w r i t t e n by Claude l e P e t i t a s an i n t r o d u c t o r y poem f o r M ichel M i H o t ' s Esc-ole d e s f i l l e s

and c e r t a i n m a d r i g a l s by La F a r e

c o n t a i n i n g a l l u s i o n s t o th e p h ilo s o p h y o f t h e ’L i b e r t i n s ’ . ^ * There were a l s o s a t i r i c a l m a d r i g a l s , s i m i l a r i n s u b j e c t to c e rta in I ta lia n

' mud r i g a l e s s i ' and ’m u u r i g a l o n i ' .

Such a r e th e poems

which B re b e u f i n c lu d e d i n La G ag eu re, m en tio n ed a b o v e .

H ere i s a

t y p i c a l example: B ien que vous p r i s i e z v os a p p a s , On d i t p a r t o u t q u ' i l s ne s o n t pas Un c h e f d 'o e u v r e ach e v e d e s m ains de l a N a tu r e : Mais du m o ins, P h i l i s , on nous j u r e , Quand on v e u t nous p a r l e r s a n s f a r d , Q u'on p e u t l e s a n p e l l e r un c h e f - d ’o e u v re de I ’a r t . 5 3 . O th e r poems s p e c i f i c a l l y e n t i t l e d m a d r i g a ls i n h i s P o e s i e s o f 1658 a r e s im i la r in su b je c t: M a d r ig a l: L y ze , a vous p a r l e r fra n c h e m e n t, Qui vous aime vous f a i t o u t r a g e . Qui vous d i t sa b l e s s u r e , ou c.onte son to u r m e n t, O f f e n s e l e r e s p e c t q u i se d o i t a v o s t r e a a g e . On d i t parmy l e s C o u r t i s a n s Que ce r e s p e c t ne vous p l a i s t g u e r e , Mais v o u le s vous l e s en d e f a i r e ? D e f a i t e s v ou s de q u a r a n t e a n s . 59. C o t i n ’ s two m a d r i g a l s , q u o te d i n a p r e v i o u s c h a p t e r , i n which he a c c u se d M'enage o f p l a g i a r i s m , a r e o f t h e same t y p e .

The f o l l o w i n g

ambiguous compliment a d d r e s s e d to Mme. de Sevigrfe” (?) by S c a rr o n somewhat re s e m b le s t h e m a d r i g a l s o f Breb&uf: M a d r ig a l.

A Mme. de S e v i g n i

B el an gs en d e u i l q u i m’ e t e s a p p a r u , J e s u i s charme de v o t r e v u e.

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

126.

Je ne 1 ' a u r a l s pas c r u , Que vous e u s s i e z e t e de t a n t d ' a t t r a i t s p o u rv u e . S o n t - i l s de v o t r e crft? Ou s i 1 'o n vous l e s v e n d , e n s e ig n e z - n o u s l a r u e Ou vous p re n e z de s i oharmans a t t r a i t s , Qui charm ent de l o i n e t de p r e s . 40. Such exam ples a s we have seen a r e n o t numerous i n F r a n c e , b u t t h e y show a t r e n d to w ard s t h e c l o s e r a s s o c i a t i o n o f t h e m a d rig a l and t h e epigram .

While B o ile a u and o t h e r t h e o r i s t s were a t t e m p t i n g

t o d e f i n e th e one by c o n t r a s t i n g i t w ith th e o t h e r , th e p o e t s to o k ad v a n ta g e o f t h e a n a lo g y to i n t r o d u c e new l i f e i n t o th e g a l l a n t com plim ent.

I t was th ro u g h th e t r a d i t i o n a l I t a l i a n

'p o in te ',

u s u a l l y o c c u r r i n g i n th e l a s t l i n e s , t h a t th e ep ig ra m m a tic manner c o u ld e n t e r t h e m a d r i g a l.

P ro b a b ly th e m a d r i g a l 's t r a n s f o r m a t i o n was

n o t due to any c o n s c io u s e f f o r t on t h e p a r t of t h e p o e t s . was a form p e c u l i a r l y d e p e n d e n t on th e s o c i a l l i f e o f th e i t q u i c k l y re s p o n d e d t o changes i n t a s t e .

S in c e i t cen tu ry ,

In o r d e r t o p l e a s e , th e

p o e t o r am ateur p o e t found i t n e c e s s a r y n o t o n ly to p r e s e n t a com plim ent, b u t to p r e s e n t i t i n a w i t t y and e n t e r t a i n i n g manner. Thus th e m a d rig a l u s u a l l y r e t a i n e d i t s g a l l a n t c o n t e n t b u t en­ l i v e n e d i t w ith an epigram m atic t u r n a t th e en d. There i s a l r e a d y a t r a c e o f t h e epigra.rama.tic manner i n a m a d r i g a l which M. H u b ert, Comm issaire de 1 ' A r t i l l e r i e , w ro te f o r t h e Guirj.anc.ie de J u l i e : Le M a rc is s e E p r i s de I 'a m o u r de moy-mSme, De b e r g e r que i ' e s t o i s j e d e v i n s une f l e u r ;

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

127.

F a i t e s p r o f f i t de mon m a lh e u r, Vous que l e C i e l o r n a d ’une b e a u t e ' supresm e, E t pour ea e v i t e r l e s coup s, P u i s q u ’ i l f a u t que t o u t ayrae, ayrae z d ' a u t r e s que v o u s . " " G i l l e s B o i l e a u , C a i l l y , La F o n ta i n e and c o u n t l e s s o t h e r a u t h o r s o f m a d r i g a ls f u r t h e r d e v elo p ed t h i s t e c h n i q u e . T h is i s

t h e manner o f iviontreuil and M. de l a S a b li& r e , who

were c o n s id e r e d t h e model w r i t e r s of t h i s ty p e

of v erse.

I n th e

f o ll o w i n g m a d r i g a l by M o n tre u il th e l a s t l i n e c o n t a i n s t h e un­ e x p e c te d t u r n which g i v e s l i f e to t h e com plim ent: A u tr e .

Pour l a mesme

J e t r o u v e en co r vos y eu x , v o s t r e a i r , v o s t r e v i s a g e Connie l a p r e m ie r j o u r que j e f u s engage'' Pour v o s t r e e s p r i t , P h i l i s , i l me sem ble change' J e vous en t r o u v e d a v a n t a g e . 42. The same t e c h n i q u e was used by M. de l a S a b l i e r e i n t h i s m a d ri g a l, whose s u b j e c t i s n e a r e r t h a t o f t h e ep ig ra m : Chez c e t t e r a r e b e a u t e '’ Toute chose me to u rm e n te E t j ' y s u i s p e r s e c u t e '' Dr une maman, d 'u n e t a n t e D'un m a r i, d 'u n e s u i v a n t e ; Ses c o u s in s s o n t t o u j o u r s p e n d u s a son c o t e . Ah! b o n .D ie u , que de m i s ^ r e s ! Sans compter c i n q ou s i x f r e r e s . 4?.

Both t h e s a l o n s and t h e am a te u r p o e t s c o n t r i b u t e d t o t h e m a d r i g a l 's a r t i f i c i a l i t y d u r in g t h e 1 7 th c e n t u r y . o r p o ets of l i t t l e

The a m ateu rs

t a l e n t , who w ere a t t r a c t e d by t h e m a d r i g a l 's

l a c k o f fo r m a l r u l e s , were more i n c l i n e d t o i m i t a t e a c c e p te d models th a n to s e a r c h f o r new f o r m u la s .

A lthough m a d r i g a l s were a lm o s t

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alw a y s a d d r e s s e d t o i n d i v i d u a l s , th e y were u s u a l l y composed w ith a l a r g e r p u b l i c i n mind, f o r t h e e n jo y m en t o f a s a l o n o r o t h e r g ro u o .

A to n e o f d eep s i n c e r i t y would have been o u t o f p l a c e

i n t h e s e ooeras, o f t e n w r i t t e n upon command o r a s a game.

The I t a l i a n

m a d r i g a l and t h e t r a d i t i o n a l ep ig ram o f f e r e d a v a r i e t y o f models and themes upon which t h e i r a n c h p o e t s m ig h t draw .

Many F ren ch

m a d r i g a l s were a mere i n t e l l e c t u a l p l a y o r r e a r r a n g e m e n t o f t h e s e common th em es.

Such i s th e f o l l o w i n g poem by C o r n e i l l e , w r i t t e n

i n h i s y o u th and in c l u d e d i n t h e volume c o n t a i n i n g h i s C l i t a n d r e : M a d rig a l J e s u i s b l e s s e p ro fo n d e'm en t. Amour, e t ma m a i s t r e s s e , Qui de vous deux me b l e s s e ? Un a v e u g le n ' a p o i n t i ' a d r e s s e De p o r t e r dans l e c o e u r s e s coups s i j u s t e m e n t , E t P h i l i s n ’a. p o i n t de fl'e c h e s P o ur f a i r e de t e l l e s b r e c h e s : Mon raal n ’e s t p o i n t i ' e f f e t ny de s e s s e u l s r e g a r d s Ny d es t r a i t s q u 'u n a v e u g le t i r e , Mais l a rnauvaise av ec q u e lu y c o n s p i r e , E t l u y p r e s t e s e s yeux p o u r a d r e s s e r s e s da.rds. 44. B ut a l th o u g h many m o t i f s were borrow ed from th e I t a l i a n m a d ri g a l o r from a n t i q u i t y , i t i s u s u a l l y n o t p o s s i b l e t o speak of d ir e c t in flu e n c e .

As i n t h e c a s e o f R ainey who u n w i t t i n g l y t r e a t e d

a theme which Manage l a t e r d is c o v e r e d in a m a d r i g a l by G u a r i n i , t h e p o e t o f t e n drew upon an e s t a b l i s h e d s t o c k o f m o t i f s w i t h o u t b e i n g aw are o f t h e i r o r i g i n .

C a i l l y w ro te o f t h e u n i v e r s a l i t y o f such

them es i n an epigram b u r ce a u 'o n d i s t a I 'A u t h e u r que sa P en see e s t o i t t i r e e d ’un a u t r e . ' ’'*

I t was a l s o one o f t h e s e s t o c k m a d r i g a l them es

which M o li^ re t u r n e d i n t o r i d i c u l e i n h i s Impromotu o f

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iv l a e c a r i l l e . A r t i i 'i c e s were a l s o u s e d t o e n l i v e n the monotony o f th e com plim entary m a d r i g a l.

S e v e r a l o f t h e poems i n t h e G n ir la n d e

de J u l i e ,

such a s La Pens.ee by G uillaum e C o l l e t e t and Les 46. S o u c is e t l e s P en sees o f M a l l e v i l l e , a r e b u i l t on pu n s.

We have s e e n t h a t th e r e l i g i o u s m a d ri g a ls o f La M e s n a rd ie re made u s e o f t h e s t r o n g a n t i t h e s e s foun d i n s i m i l a r I t a l i a n v e r s e . Some poems depended f o r t h e i r e f f e c t on v a r i a t i o n s o r r e p e t i t i o n s o f w ords, such a s th e fau v o l e u r ' i n th e l a s t l i n e o f M a s c a r i l l e ' s poem. Yet t h e r e a p p e a r s t o h av e been a d e f i n i t e r e s i s t a n c e i n F ra n c e t o t h e e x c e s s iv e u s e o f a r t i f i c e which was common i n many I t a l i a n m a d rig a ls.

C o tin f e l t h i m s e l f o b l i g e d t o a p o l o g iz e

f o r th e pun i n h i s Ma d r i g a l s u r un C a r r o s s e d e .- c o u le u r A m aran te. T here a r e few t r a c e s i n th e m a d ri g a l o f th e 1 7 th c e n t u r y o f t h a t e x a g g e r a te d la n g u a g e c a r i c a t u r e d by M o lie r e i n t h e P r e c i e u s e s R id ic u le s.

Such e x p r e s s i o n s a s ' l e s f e u x ' and ' l e s f e r s de 1 ' amour

a r e a p a r t o f t h e m a d r i g a l 's p o e t i c la n g u a g e a s o f t h e l i t e r a r y la n g u a g e o f t h e whole c e n t u r y , b u t th e m a d rig a l o f B e r n i e r de l a B r o u s s e , w r i t t e n a f t e r t h e p a t t e r n o f R onsard, i s e x c e p t i o n a l by its

1prs’c i o s i t e ^ ' .

In h i s P r o c e z des P r e t i e u s e s ,

Somaize p r e s e n t e d

T h e o c r i t e , who t u r n e d a m a d r i g a l i n t o t h e la n g u a g e o f th e ' P r e c i e u x L ' a u t r e j o u r un mary c a u s o i t Avec sa femme, e t lu y d i s o i t Dedans 1 ' em p ire d e s o e i l l a d e s J e voy que vous c h e r c h e z & f a i r e a s s a u t d 'a p p a s . E l l e sans s o n g e r , d i t : Ne t ' e n e s to n n e p a s , Car l e s b a i s e r s p erm is s o n t f a d e s .

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1?0.

Luy d 'a b o r d t o u t conune un A rg us, E t s a n s au cu n e i n q u i e t u d e , Luy d i t : Vous n 'e n r e v i e n d r e z p l u s , E t c o n tre e l l e a u s s i t S t poussa l e d e r n ie r ru d e.

47.

B u t Somaize a p p e a r s to b e r i d i c u l i n g an e n i g m a t i c la n g u a g e which was r a r e l y u s e d f o r t h i s t y p e o f v e r s e o r w hich was p r e s e n t e d w i t h an i r o n i c a l i n t e n t i o n , a s i n th e f o l l o w i n g m a d r i g a l by M o n tr e u il: J e l a n g u i s dans un f e u t o u t a u t r e Que c e l u y q u i me v ie n t. de 1 ' e c l a t de vos yeux: C e i u y - c i me d e p l a i s t , e t j ' s h o r e l e v o s t r e ; Mais on n ' a pas t o u j o u r s ce q u 'o n aime l e m ieux . Ce n ' e s t pas l a p o u r t a n t t o u t ce q u i f a i t ma p e i n e . •Si raa f i ^ v r e s ' a c c r o i s t , s i j e n ’ en p u is g u e r i r , J ' e n r a g e r a y de v o i r , a u t a n t cue de m o u r i r , Qu'urie o r u d e a g ro s g r a i n s , une f a u s s e in h u m ain e A q u i p a r vos c o n s e i l s j e f a i s o i s l e s yeux doux, Que j e f e i g n o i s de t r o u v e r b e l l e , A q u i j ' a y d i t deux f o i s : " J e ne v i s que p o u r vous" I r a d i r e p a r t o u t que j e s u i s rnort p o u r e l l e . 43. A p p a r e n tly t h e e p ig ra m m a tic t u r n i n t r o d u c e d i n t o t h e m a d r i g a l ma.de f o r s i m p l i c i t y o f la n g u a g e .

T h is s i m p l i c i t y in

t u r n was t h e r e f l e c t i o n o f a new s i n c e r i t y o r k e e n n e s s o f o b s e r v a t i o n , a p p l i e d t o l o v e and g a l l a n t r y .

I n s t e a d o f an

i n t e l l e c t u a l j u g g l i n g w ith a c c e p te d th e m es, t h i s poem by La S a b l i e r e p r e s e n t s , w i t t i l y , th e r e s u l t o f a d i r e c t o b s e r v a t i o n : M ad rig al XXII P h i l i s ne m 'aim era j a m a is ; S ur t o u t ce que j e d i s , s u r t o u t ce que j e f a i s , E l l e me l o u e , e l l e me f l a t t e ; C ' e s t l e payernent d 'u n e i n g r a t e . 49. Sometimes t h e p o e t l i g h t l y to uch ed on t h e a r b i t r a r y o r i n d e f i n a b l e , a s M arot had done i n h i s epigram Le Quy e t l e Menny: M a d rig al XXVI T oute i n d i f f e r e n t e q u ' e l l e e s t C e t t e f i S r e b e a u t§ me p l a i t ;

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1?1.

T o u jo u rs m'on arae en e s t r a v i e j J e l ’ aime avec sa c r u a u t e P l u s que P h i l i s p l u s que S y l v i e , Avecque l e u r f a c i l i t e . 50.

Wiien Mme. de Sevigne d e f i n e d t h e m a d r i g a l a s t h e e p i g r a m 's hu sb an d , she p r o b a b ly had i n .mind such in g e n i o u s p r e s e n t a t i o n s o f a d i r e c t o b s e r v a t i o n a s we f i n d i n t h e s e poems o f La S a b l i e r e . T h e i r w i t and i n s i g h t must have d e l i g h t e d h e r a s th e y d id many o f h e r contem poraries. An o b s e r v a t i o n was r a r e l y p r e s e n t e d s e r i o u s l y i n th e m a d r i g a l , b u t was a p r e t e x t f o r 'b a d i n a g e 1.

M a d r ig a ls p le a s e d

b e c a u s e t h e i r com plim ents were p r e s e n t e d i n an am using o r s l i g h t l y i m p e r t i n e n t (and o c c a s i o n a l l y e q u i v o c a l) m anner.

The c o m p o s itio n

o f m a d r i g a l s en co u ra g ed t h e p o e t s t o examine c l o s e l y , b u t i n a. l i g h t - h e a r t e d manner, t h e p s y c h o l o g i c a l m a n i f e s t a t i o n s o f l o v e and g a l l a n t r y .

1t was o n ly a s t e p from t h e i r w i t t y and a n t i t h e t i c a l

a n a l y s e s o f a. r i v a l r y , an a b s e n c e o r a l o v e - s u i t to t h e 'm a r i v a u d a g e 1 o f t h e f o l l o w i n g c e n t u r y .

The m a d r i g a l , one

o f t h e l e a s t o f 1 7 th c e n t u r y p o e t i c t y p e s , n e v e r t h e l e s s o f f e r e d a l i t e r a r y t r a d i t i o n and l i t e r a r y m o d e ls, how ever s l i g h t , t o w r i t e r s o f t h e 1 3 th c e n t u r y .

Lr-om t h e s e m o d e ls , t h e gay and

a n a l y t i c a l manner p e c u l i a r to t h e m a d ri g a l c o u ld p a s s i n t o more i m p o r t a n t l i t e r a r y fo rm s. D uring a g r e a t p a r t o f tine 1 3 th c e n t u r y t h e m a d rig a l m a in ta i n e d i t s p o p u l a r i t y .

V o l t a i r e r e l a t e s t h a t t h e M arquis

de S a i n t e - A u l a i r e was a d m itt e d to t h e T rench Academy i n 1706 on th e m e r i t o f one o f h i s m a d r i g a l s , d e s o i t e t h e o p p o s i t i o n o f B o ileau .

51. ’

These poems were comoosed by V o l t a i r e ,

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152.

F o n t e n e l l e and a h o s t o f o t h e r p o e t s , and c o n tin u e d to be in c l u d e d i n th e R e c u e ils C o l l e c t i f s .

However, t h e r e a p p e a r s

to have been a grow ing c o n fu s io n r e g a r d i n g t h e i r e s s e n t i a l n a t u r e . I n t h e P o r t e f e u i l l e d 'u n homme de gotrfc o f 1665, poems ox many t y p e s , i n c l u d i n g a number o f M a r o t’ s ep ig ra m s, were i n s e r t e d among th e m a d r i g a l s .

A p p a r e n tly t h e n o t i o n o f t h e m a d r i g a l

a s a s e p a r a t e ty p e o f v e r s e was w eakening, and any g a l l a n t o r w i t t y compliment o r lo v e poem was th u s named.

At t h e same

ti m e , th e 'm arivaudage* o f t h e 1 8 th c e n tu r y was a b s o r b in g some o f th e s p i r i t o f th e m a d r i g a l, which th u s p a s s e d i n t o such l i t e r a r y forms a s comedy. By th e end o f th e 1 8 th c e n t u r y , p o e ts w ere no l o n g e r composing m a d r i g a l s i n s i g n i f i c a n t numbers.

D u ring t h e Romantic

and P o st-R o m an tic p e r i o d s , t h e t r u e n a t u r e o f t h i s ty p e o f v e r s e was t o some e x t e n t f o r g o t t e n .

I t s e s s e n t i a l g a y e ty and w i t

were e n t i r e l y ig n o r e d by such w r i t e r s a s Mme. de S t a e l and B a u d e la ire .

52.

C e r t a i n s h o r t poems s i m i l a r t o t h e 1 7 th c e n t u r y

m a d r i g a l were w r i t t e n ,

55 ' ’ b u t t h e s e succeeded o n ly i n r e c a p t u r i n g

f o r a moment t h e s p i r i t o f t h e p a s t .

They f a i l e d to r e v i v e

th e form , whose h i s t o r y was ended b e f o r e th e b e g i n i n g o f th e Romantic p e r i o d .

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

1?5.

C onclusion

S in c e a l l a v a i l a b l e e v id e n c e to t h e c o n t r a r y h as b een shown t o he h i g h l y s u s p e c t , t h e m a d r ig a l may be c o n s i d e r e d , a t l e a s t p r o v i s i o n a l l y , a s a form o f I t a l i a n o r i g i n .

The I t a l i a n

m a d ri g a l o f th e 1 4 th c e n t u r y , a s h o r t poem o f f i x e d form w ith a m u s ic a l accom panim ent, d id n o t Ion'-, s u r v i v e th e c e n t u r y .

A

new f r e e ty p e o f m a d rig a l v e r s e a p p e a r e d w i t h th e R e n a is s a n c e o f P e t r a r c h i s m in th e e a r l y 1 0 th c e n t u r y , g i v i n g r i s e a l m o s t im m e d ia te ly t o a d i s t i n c t i v e s t y l e o f accompanying p o ly p h o n ic m usic which was to r e v o l u t i o n i z e m u s i c a l t e c h n iq u e i n I t a l y and i n c e r t a i n o th e v c o u n t r i e s , b u t was t o have r e l a t i v e l y l i t t l e in flu e n c e in F rance.

T h i s I t a l i a n m u s i c a l m a d r i g a l, how ever,

d i s a p p e a r e d b e f o r e th e m id d le o f t h e 1 7 th c e n t u r y , l e a v i n g th e p o e t i c form t o d e v e lo p in d e p e n d e n t l y . b’h i'l e t h e new I t a l i a n m u s ic a l m a d r i g a l was a t i t s h e i g h t , t h a t i s , d u r in g much o f t h e 16 til c e n t u r y , t h e form was s c a r c e l y a b l e to g a in a f o o t h o l d i n * r a n e e .

Most o f th e t r e n c h m a d r i g a l s

w r i t t e n d u r in g th e 1 6 th c e n t u r y , th e work o f Ronssrd o r h i s f o l l o w e r s , were l i t e r a r y

e x p e r im e n ts w i t h t n e sonnet, form , and can

b e co n n ec ted o n ly i n d i r e c t l y w ith th e I t a l i a n m a d r i g a l .

These

poems, r e s e m b lin g c l o s e l y th e s o n n e t and th e s t a n c e , added n o th i n g e s s e n t i a l to t n o s e f o r m s , and R o n s a r d 's m a d r i g a l was r a r e l y i m i t a t e d by l a t e r F ren ch p o e t s .

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1?4.

I t was o n ly a f t e r t h e I t a l i a n p o e t i c madriro-1 had r a i n e d a c e r t a i n d e g re e o f in d e p en d en ce from m usic ±n t h e e a r l y 1 7 th c e n t u r y t h a t a l i t e r a r y c o m p o sitio n r e s e m b l in g c l o s e l y th e I t a l i a n form a c u e a re d i n t r a n c e .

T h ere i s no c o n t i n u i t y betw een

t h i s F re n c h m a d rig a l form and t h a t fo und i n F ra n c e i n t h e p rece d in g ce n tu ry .

D* ^ r f * / was f o r c e d to t u r n to I t a l y f o r t h e m odels

o f h i s new m a d r ig a l, in t r o d u c e d i n t o F r a n c e i n t h e e a r l y 1 7 th ce n tu ry .

The new form did n o t come i n t o g r e a t f a v o r in

F r a n c e u n t i l a f t e r 1640, t h a t i s , a f t e r t h e d e c l i n e o f p o l y - • p h o n ic m a d rig a l music i n I t a l y and E n g la n d , b u t th e n th e F re n c h l i t e r a r y m a d rig a l m a in ta in e d i t s p o p u l a r i t y t o t h e end o f t h e c e n t u r y . I n I t a l i a n models F ren ch p o e t s fo u n d t h e f r e e v e r s e and d i v e r s i t y o f form , t h e a n t i t h e s e s , p l a y s on words and o t h e r a r t i f i c e s which were to become f e a t u r e s o f much F ren ch m ad rig al v e rse .

The s i m i l a r i t y betw ee n I t a l i a n m a d r i g a l and

e p ig ra m had i t s c o u n t e r p a r t i n F r a n c e , where i l a r o t ’ s example c o n t r i b u t e d to th e c o n f u s io n b etw een t h e s e two f o r m s .

The

G n i r l a n d a d e l l a ^ o n t e s s a ^ e c c a r i a , s o c i a l triu m p h o f t h e I t a l i a n m a d r i g a l , o f f e r e d a model f o r t h e G u i r la n d e de J u l i e .

Ita lia n

i n f l u e n c e may a l s o a c c o u n t f o r t h e c o u r t l y o r am atory c o n t e n t o f much o f t h i s v e r s e , s s w e l l a s f o r such e x p e r im e n ts a s La iv ie s n a r d ie r e 's r e l i g i o u s m a d r i g a l s .

On th e o t h e r h and,

th e g r e a t d i v e r s i t y o f s u b je c t-m a tte r p erm itted in th e I t a l i a n c o m p o s itio n i s n o t commonly found in t h e s e poems i n F r a n c e , where

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1F5.

political, religious and satirical madrigals never had the success they enjoyed in Italy.

The F re n c h m a d rig a l o f t h e 1 7 th c e n tu r y owed i t s s u c c e s s c h i e f l y to i t s a d o p t io n by th e s a l o n s .

I t s form , so s i m i l a r to t h a t

o f th e e p ig ra m , was w e l l s u i t e d t o t h e l i g h t b a n t e r w hich d e l i g h t e d th e men and women o f t h e 1 7 th c e n t u r y .

The m a d r i g a l 's l a c k o f

fo rm a l r u l e s made i t a p o p u la r ty p e o f l i t e r a r y e x p r e s s i o n i n th e s a l o n s , where such v e r s e was w r i t t e n a s a game, n o t o n ly by am a te u rs and m ed io cre p o e t s , b u t a l s o hy some o f th e g r e a t e s t w r i t e r s o f t h e tim e .

A new o r renewed c h i v a l r y , c o n t r i b u t i n g

t o t h e .so c ia l l i f e o f th e tim e , found e x p r e s s io n i n t h e s e poems which were l a r g e l y d e v o te d to women, e i t h e r p r a i s i n g them d i r e c t ­ l y i n a com plim ent o r w r i t t e n f o r t h e i r e n t e r t a i n m e n t . A lthough u s u a l l y a d d r e s s e d to a. p a r t i c u l a r p e r s o n , m a d r i g a ls were written w ith th e larger public of the salons in mind, and t h e y r e f l e c t t h e t a s t e o f th o s e g a t h e r i n g s w here, ir; actual f a c t , t h e i r l i t e r a r y m e r i t was o f t e n d i s c u s s e d . To t h i s social background as w e ll a s to their Italian h e r i t a g e French madrigals owed much of their artificiality, but both the Italian t r a d i t i o n and the taste of the s a l o n s c o n t r i b u t e d to the c o n f u s io n betw een m a d r i g a l and epigram o u t o f which emerged

t h e b e s t F re n c h m a d r i g a l s .

At a time when certain theorists were

s e e k in g trie s t r i c t s e p a r a t i o n o f d i f f e r e n t types o f v e r s e , t h e m a d rig a l was c r e a t e d o u t o f th e m e etin g between two l i t e r a r y

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fo rm s , s.nd b o t h t h e c o u r t l y and t h e l i b e r t i n e c u r r e n t s o f th e c en tu ry c o n trib u te d to i t s fo rm a tio n .

In t h e b e s t F rench

m a d r i g a l s v/e f i n d a new s i n c e r i t y and i n s i g h t , r e m i n i s c e n t o f some o f M a r o t’ s e p ig ra m s , b r i n g i n g new l i f e t o t h e c o u r t l y com plim ent. The e p ig ra m m a tic t u r n a p p a r e n t l y b r o u g h t w ith i t e v e r g r e a t e r s i m p l i c i t y o f la n g u a g e .

These s h o r t poems were m ost f r e q u e n t l y

composed o f f r e e v e r s e , and e x p r e s s e d i n a w i t t y o r e n t e r t a i n i n g manner a g a l l a n t c o n c e p t o r com plim ent. t h e y w ere e n t i r e l y d e v o id o f p o e t r y . 5 tro u v a iii l e * l i f t s

Nor can i t be s a i d t h a t

O ccasio n a lly a p o e tic

th e poem above t h e moment w hich v/as t h e

o c c a s i o n o f i t s b i r t h , and h e l p s t o e x p l a i n th e m a d rig a l* s g r e a t p o p u l a r i t y d u r i n g th e 1 7 th c e n t u r y . A lth o u g h p o e t s c o n tin u e d to u s e th e form d u r i n g th e 18th c e n t u r y , th e y added n o t h i n g new t o t h e m a d r i g a l , w hich grad u ally dro p p ed from f a v o r a s th e' Romantic p e r i o d a p p ro a c h e d .

At th e

end o f t h e 1 8 th c e n t u r y , th e h i s t o r y o f t h e m a d r i g a l was i n e f f e c t c o n c lu d e d .

An e s s e n t i a l l y s o c i a l ty p e o f v e r s e , i t d is a p p e a r e d w ith

t h e s o c i e t y w hich had a s s u r e d i t s p o p u l a r i t y , and t h e r e h a s b een no g e n e r a l a t t e m p t t o r e v i v e t h e fo rm .

The few m a d r i g a ls w r i t t e n

a f t e r t h a t tim e may be r e g a r d e d a s r e m i n is c e n c e s o f t h a t s p i r i t o f th e 1 7 th c e n t u r y which found i t s b e s t e x p r e s s i o n i n t h i s ty p e o f verse.

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N otes

In tro d u ctio n

i.

N. Boileau-JDespri/aux, L 'A r t p o e t i o u e , ed . B r u n e t i A r e , P a r i s , H a.cliette, n . d . , p . 27, n o t e t o c h a n t I I , l i n e s 14?;—4.

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

1?8.

Ch ap te r!

1.

G. Grove, D i c t i o n a r y o f Music and Musi c i a n s , New York, 1927-28, vol*. 5 ,~ p . 2 7 5 ;' s e e a ls o ~ E . L i G o t t i , N. P i r r o t t a , I I S acch e t t i e l a t e c n i c a mu s i c a l s d e l t r e c e n t o i t a l i a n o , F i r e n z e , 1955, p . 60 ,

2.

A. da Tempo, T r a t t a t o d e l l e rim e v o l g a r i , ed. G rio n , T o rin o , 1860, p. 159.

5.

Among th e I t a l i a n t h e o r i s t s who a c c e p te d th e o p i n i o n o f da Tempo w ere: G. da Sommacompagna. (some 50 y e a r l a t e r ) , T r a t t a t o a e i r i t m i v o l g a r i , ed . C>. G i u l i a r i , B ologna, 1870, pp. 152 f f . ; G. T r i s s i n o (1 5 2 9 ), La o o e t i c a . V ic e n z a , 1529, f o l . LXIII f f . ; L. D o l c e 1 5 5 0 } , I o u a t t r o l i b r i d e l l e o s s e r v a z i o n i , V in e g ia , 1562, pp . 227 f f . ; A. M inturno ( 1 5 6 5 ) , L 'A r t e o o e t i c a . N a p o li. 1725, p . 261; F . M a s s in i ( i 5 8 8 ) , "Del m a d r i g a le " , L e t t i o n i d e l l ' E s t a t i c o , P e r u g i a , ■ 1658, p . 165: and l a t e r : G. M. C re s c im b e n i, Commentari i n t o r n o a l l 1i s t o r i a d e l l a p o e s i a i t a l i a n a , L ond ra, 1 8 0 5 , . v o l . 1 , p. 194; and F. S. Q u ad rio , D e lla s t o r i a e d e l l a r a g i o n e d ’o g n i o o e s i a , B ologna, 1 7 5 9 -5 2 , v o l . 2, pp. 5 0 ? f f . . Among t h e e a r l y S p a n is h t h e o r i s t s who a c c e p t e d th e o p in io n o f da Tempo w ere: J . D. R e n g ifo , (1592) A r te o o e t i c a e s p a n o l a , B a r c e lo n a , 1759, p . 1?4 and L. A. C a r v a l lo (1 6 0 2 ), C-isne de Apolo, Medina d e l Campo, 1602, p . 92. I t was c i t e d by S. de C o v a r r u b ia s , Tesoro de la. le n g u a c a s t e l l a n a , M adrid, 1611, " m a n d ra " . I n F r a n c e , B ense-D upuis q u o te d C o v a r r u b ia s i n 1644 i n h i s L 1A pollon ou. I 1O r a c le de l a n oe'sie i t a l i e n n e e t e s o a p n o l e , P a r i s , 1644, p . 178. The t h e o r y was a l s o a c c e p te d i n F ra n c e by G. Menage, Les o r i g i n e s de l a la n g u e f r a n p o i s e , P a r i s , 1650, ’'m a d r i g a l" , and A. F u re tie ^ re q u o te d Menage i n 1690 i n h i s D i c t i o n n a i r e u n i v e r s e l . La Haye, 1690, " m a d r ig a l" .

4 . G. C a r d u c c i, "Musics e p o e s i a n e l raondo e l e g a n t e i t a l i a n o d e l s e c o lo XIV", S t n d i l e t t e r a r i , Bologna, i 8 9 5 , p. 529. 5 . D ic t io n n a ir e . ety m o lo g icu e de l a lanp.ue f r a n c h i s e , P a r i s , 1750, " m a d r i g a l" . 6 . L. B ia d e n e ,

" M a d r ig a le " , P a s s , b i b l . d e l l a l e t t . i t . , 1898, p . 555, "Se non c ' e da s t u p i r e che quand* e g l i s c n v e v a c i r c a t r e s e c o l i f a , s i c o n s i d e r a s s e r o come i d e n t i c i i due f a t t i , t a l e c o n f u s io n e non s a r e b b e p iu l e c i t a og g i i n c u i t u t t i sanno che i l grupDo n s suonnva q u a le s e m p lic e s giA n e l l a t i n o v o l g a ^ a.ncor orima c e l l 1e r a n o s t r a . "

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

139.

7.

I b i d . , pi). 329 f f .

8.

D.

H uetj T r a i t e de I ' o r i g i n s d e s ro m an s, P a r i s , 1711 p . 159

9.

G.

B. D oni, Compendio d e l t r a t t a t o de* g e n e r i , Roma, 16 3 5 , p . 113.

10.

De l a Monnoye r e p e a t e d H u e t’ s t h e o r y i n h i s commentary on t h e m a d rig a l o f S a i n t G e l a i s , f u r t h e r i d e n t i f y i n g th e M artegau x a s i n h a b i t a n t s o f t h e i s l a n d o f M a r te g u e s , n e a r M a r s e i l l e . See M. de S a i n t G e l a i s , O e u v re s , e d . B la n c h e m a in , P a r i s , 1873, v o l . 1 , p . 239. R ig o le y de J u v ig n y i n c l u d e d De l a Monnoye' s words i n a n o t e added t o La C ro ix du M a in e ’ s b i b l i o g r a p h y o f A rn a u t D a n i e l . See La C r o ix du M aine, Du V e r d i e r , Les b i b l i o t h e q u e s f r a n c o i s e s , ed . R. de J u v ig n y , P a r i s , 1772, p . 1 5 7 . 4 The 1750 e d i t i o n o f Menage’ s d i c t i o n a r y gave H u e t 's t h e o r y among o t h e r s , commenting: " C e t t e e ty m o lo g ie e s t f o r t i n g e n i e u s e e t e l l e ne me d e p l a x t p a s . " s e e G. Menage, " D i c t i o n n a i r e " , o p . c i t . , " m a d r i g a l" .

11.

P. de Laudun d ’A i g a l i e r s , L ’A r t p o e t i q u e f r a n c o i s , ed . c r i t . , P a r i s , 1909, p . 96

12.

A. F u r e t i A r e , l o c . c i t .

13.

0 . F e r r a r i , O rig e n e s l i n g u a e i t a l i a n a e , P adova, 1676.

14.

A. S c h e l e r , D i c t i o n n a i r e d ’e t y m o lo g ie f r a n c a i s e , P a r i s , 1873 , " m a d r i g a l " . 3

15 .

G. Menage, " D i c t i o n n a i r e " , l o c . c i t .

16 .

S. de C o v a r r u b ia s , op. c i t . , " m a d r i g a l " , The fame o f M a d r i g a l ’ s wine was o f lo n g s t a n d i n g (See M. " 'H e r r e r o - G a r c x a , La v i d a e s p a n o l a d e l s i g l o X V II. I . Las b e b i d a s . , " P a r i s , 1 9 3 3 , p . 4 8 .) The town i t s e l f i s a n c i e n t , and Madoz s t a t e s t h a t i t s name was i n e x i s t e n c e i n t h e 1 2 t h c e n t u r y ( s e e D iccio n ario g e o g r a f i c o - e s t a d i s t i c o - h i s t o r i c o , M adrid, 184 5 -5 2 , v o l . I I , p p . 9 f f . ) . M o reov er, i t had some h i s t o r i c a l .im po rtance, e s p e c i a l l y a t t h e tim e o f t h e C a t h o l i c K in g s , and was t h e b i r t h p l a c e o f a number o f famous men, among them Don A lonso de M a d r ig a l , known a s E l T o s ta d o .

17.

L. C a r v a l l o , o p . c i t . , p . 9 1 , v e r s o : " Z o y lo : . . . Mas desidm e p o r v u e s t r a v i d a , porque se lla m a n e s t a s e s t a n c i a s m a d r i g a l e s , que v e rd a d e ra m e n te me ha a l e g r a d o e s t e nombre, con e l p a r e n t e s c o que t i e n e con e l bu en v in o de M ad rig al".

13.

P. Bembo, " D e l l a v o l g a r l i n g u a " , O p e r e , M ila n o , 1 8 0 8 -1 0 ,



Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

140. vol. X, pp. 502-5.

19.

G. R u s c e l l i , T r a t t a t o . . . d e l moclo d i comnorre i n v e r s i , V e n e t i a , 1595, p . 55.

20.

G. Menage, " D i c t i o n n a i r e " , l o c . c i t .

21.

G. C a r d u c c i, op. c i t - . . p . 528

22.

L. S p i t z e r , " I t a l i e n i s c h e m a d r i g a l e " , ZRPh. , 195 5, v o l . 55, pp. 1 6 8 -1 7 0 . He r e f e r s to Du Cange, who g i v e s m a t e r i a l i s a s a synonym o f b a s t a r d u s , w i t h t h e meanings , n o t h u s , s p u r i u s , i l l e g i t i m u s * . (S ee Du Cange, G lo s s a r iu m mediae e t in f im a e L a t i n i t a t i s , P a r i s , 195 8, ’m a t e r i a l i s ’ ) . These m eanings were f u r t h e r d e v e lo p e d i n t h e v u l g a r form s o f b a s t a r d u s , a s i n Old P r o v e n j a l b a s t a r t , ’i r r e g u l i e r ’ , and i n t h e f o l l o w i n g s eco n d ary m eanings m entioned by Von W artburg u n d e r t h e word b a s t a r d u s (IV. von W artb u rg , F r a n z # s i s c h e s e ty m o lo g is c h e s IV orterbuch, Bonn, 1 9 2 8 ): " 'O b ertrag en w ird d a s w o r t a l s a d j e c t i v auch g e b r a u c h t m i t bezug a u f w ildw achsende p f l a n z e n und t i e r e , sowie a u f d in g e , w elchen a u s ir g e n d e in e m grund a l s m in d e r w e r tig an g eseh e n werden o d e r w elche d i e M i t t e h a l t e n zw ischen a n d e re n d in g e n ah n lic h e r a r t . " S upp o sin g a s i m i l a r d evelop m en t f o r t h e v u l g a r form s o f m a t e r i a l i s , D r. S p i t z e r s u g g e s t s t h e f o ll o w i n g d e r i v e d m eanings f o r m a d r i a l e : ( l ) a b a s t a r d so n g , midway b etw een m usic and p o e t r y , o r ( 2 ) a p a r t i c u l a r l y f r e e o r i n f e r i o r form o f p o e t r y . To s t r e n g t h e n t h e argum ent f o r t h i s second m e aning , he c i t e s t h e u s e o f m a t e r i a l e by B o c c a c c io and o t h e r a u t h o r s i n t h e p h r a s e ’Uomo m a t e r i a l e e g r o s s o ’ , where m a t e r i a l e i s e q u i v a l e n t t o roug h o r i n f e r i o r . An o b j e c t i o n to t h i s argu m en t may b e r a i s e d . I t i s d o u b t f u l w h eth er m a t e r i a l i s , l i s t e d by Du Cange a s t h e l e a r n e d form f o r b a s t a r d u s , would have u n d erg o n e th e same s e m a n tic d ev elo p m en t a s t h e p o p u l a r form . T here i s t h u s some d i f f i c u l t y i n t r a n s f e r r i n g to m a d r i a l e t h e s e c o n d a r y m eanings which b a s t a r d u s came to h av e o n ly i n i t s v u l g a r fo rm s . Such an o b j e c t i o n would a p p ly c h i e f l y t o th e f i r s t meaning l i s t e d by D r. S p i t z e r . F u r t h e r ­ more, a t a tim e when a l l p o e t r y was c l o s e l y co n n e c te d w ith m u sic , i t i s d o u b t f u l w h e th e r a p a r t i c u l a r ty p e o f c o m p o sitio n would have ta k e n i t s name p r e c i s e l y from such a c o n n e c tio n . T h is o b j e c t i o n does n o t n e c e s s a r i l y a p p l y t o t h e second m eaning s u g g e s te d by Dr. S p i t z e r . A lth oug h t h e e a r l i e s t s u r v i v i n g exam ples o f b o t h m u s ic a l a n d p o e t i c form s o f t h e m a d r i g a l show a c o n s i d e r a b l e d e g re e o f o r g a n i z a t i o n , o u r two f i r s t r e f e r e n c e s t o i t , i n B a r b e r i n o ’ s g l o s s e s t o h i s Documenti d 1M o r e and i n da Tempo’ s T r a t t a t o d e l l e rim e v o l g a r i ■ s u g g e s t t h a t i t was o r i g i n a l l y a much

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141.

s i m p l e r form . p e rtin e n t. 25. 24.

T h is second meaning m ig h t t h e r e f o r e b e

L. S p i t z e r , I b i d . , p. 1 68. L. B ia d e n e , o p . c i t . , p . 82?: " p e rc h e t r a m u t a r l e ( m a d r i a l e ) poi i n in a d r i g a le ? I n f o r z a d i q u a l r e g o l a i 'o n e t i c a o a t t r a z i c n e a n a l o g i e s , s e a n z i sono a b b asta n za f r e q u e n ti in I t a l i a n o l e p a r o le t e r m i n a n t e en - i A l e , come m a t e r i a l e , c e l e s t i a l e , c o r d i a l e , i m n e r i a l e , f i g l i a l e , sp e z i a l e , u f f i z i a . l e , e c c . . e p e r c o n t r o . s e non c fzn ganniam o , n e s s u n ' a l t r a te r m in a i n - i g a l e ? I r e c e n t i e l a r g h i s t u d i i n t o r n o a l d e l i c a t i s s i m o fenomeno d e l l ’ i a t o - . . . sembrano e s c l u d e r e l a p o s s i b i l i t i / d i un t a l jg.

25.

R. A. H a i l , " I t a l i a n m a d r i g a le and R e n a is s a n c e e t y m o l o g i s t s " , 'L anguage, v o l . 16, 1940, p . 545, p o i n t s o u t t h a t a s p o n ta n e o u s £ can o n ly a r i s e ' b etw e e n two back vow els and o n ly i n S outh T u scan .

26 .

L i t t r e ^ D i c t i o n n a i r e , P a r i s , 1372, " m a d r i g a l " , and A. S ch eler, lo c . c i t .

27.

L. B ia d e n e , op. c i t . ,

28.

R. A. H a l l , l o c . c i t .

29.

p . 585.

L i G o t t i , P i r r o t t a , o p. c i t . , pp. 61 f f .

50.

A. da Tempo, op. c i t . ,

51.

J . de N ostredam e, Les v i e s d e s p l u s cdle^hres e t a n c i e n s p o n t e s urovencfaus, Lyon, 1575, p . 4 5.

52,.

55.

p . 159.

Chabaneau, A nglade, " E s s a i de r e c o n s t i t u t i o n du c h a n s o n n ie r du Comte de S a u l t " , Rom ania, 1911, p . 269. F . M i s t r a l , D i c t i o n n a i r e pro v en c p l - f r a n c a i s , P a r i s , 1878, " m a r t e g a l e " . I have been u n a b l e t o con firm t h i s s t a t e m e n t o r t o f i n d a d d i t i o n a l i n f o r m a t i o n on th e m a r t e g a l e .

54.

G. B. D oni, l o c . c i t .

55.

G. C re s c ira b e n i, l o c . c i t .

56.

A. da Tempo, op. c i t . , p . 159

57.

See E. C a r r a r r a , La p o e s i a p a s t o r a l e , M ila n o , 1909, p . 1 62.

58.

A. da Tempo, op. c i t . , p . 147. op. c i t . , p. 60, n o t e .

59.

O f. L i G o t t i , P i r r o t t a ,

Da Tempo s t a t e s , op. ci t . , p. 159, t h a t t h e m a d rig a l o f h i s tim e s h a l l be composed " e x v e r b i s v a l a e

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142.

v u l g a r i b u s e t i n t e l l i g i b i l i s e t r u d ib u s q u a s i cum p r o l a t i o n i b u s e t i d i o r a a ti b u s r u s t i c a l i b u s " , and f u i ' t h e r on, p . 159: " i n c a n t u (d e b e t) h a b e r e a l i q u o s p a r t e s r u s t i c a l e s s i v e m a n d r i a le s u t c a n tu s c o n s o n e t cum v e r b i s . " 40.

G. C a r d u c c i, o p . c i t . , p . 336

41 .

A. da Tempo, o p . c i t . , o. 139; G. C a rd u c c i, o p . c i t . , p . 335

42.

For exam ple, L i G o t t i , P i r r o t t a , op. c i t . , p . 61 .

43.

0. A n to g n o n i, "Le G lo s se a i Doeumenti G i o m a l e d i f i l o l o g i a rom anza.

44.

N e i t h e r Du Cange, t h e L a t i n T h e s a u ru s n o r a v a i l a b l e e a r l y g l o s s a r i e s r e c o r d v o lu n t a r iu m o r coneinium i n a s e n s e w hich w ould b e a c c e p t a b l e h e r e . F u r th e r m o r e , rudium and in o r d in a tu m a r e open to v a r i o u s i n t e r p r e t a t i o n s . I f i t were t o be found t h a t v o lu n t a r iu m had any o f th e t e c h n i c a l m eaning w hich we f i n d much l a t e r (1565) i n t h e E n g l is h v o l u n t a r y , a m u s ic a l term (See N. 5 . D. , " v o l u n t a r y " ) B a r b e r i n o ' s words would c o n s i d e r a b l y c l a r i f y .our c o n c e p tio n o f t h e e a r l y m a d rig a l and m ig h t s e r v e a s a v a l u a b l e c l u e t o i t s o r i g i n . Only f u r t h e r l e x i c o g r a p h i c a l p r o o f ( o t h e r th a n t h a t a v a i l a b l e a t p r e s e n t ) can d e te r m in e w h eth er t h i s h y p o t h e s i s i s j u s t i f i e d . On t h e o t h e r hand th e te rm , a s A n to gn oni p o i n t s o u t ( op. c i t . , p p . 9 4 - 5 , n o t e to 1v o l u n t a r i i ') may h av e been i n v e n t e d by B a r b e r i n o , i n w hich c a s e i t would be d i f f i c u l t t o d e te r m in e i t s m eaning. The i n t e r p r e t a t i o n s o f B ia d en e (o p . c i t . , p . 334) and D e r i ("R eview ", G io r n a le s t o r i c o d e l l a l e t t . i t . , v . 48, 1906, p . 446) who to o k v o lu n t a r iu m a s a r a t h e r lo o s e te rm f o r ' f r e e 7 form s o f v e r s e , a r e n o t j u s t i f i e d by any p r o o f . L ik e w is e coneinium may be v a r i o u s l y i n t e r p r e t e d a s 'p o ly p h o n y ' o r m e re ly a s a " s i n g i n g t o g e t h e r ' .

d'A m ore", IV . 1892. p . 96.

45 .

R. O r t i z , "Le I m i t a z i o n i d a n t e s c h e " , A t t i d e l l a Reale Accademia d i N a p o l i , 1905, pp. 249 f f . See a l s o R. C r i s t i a n i , "La Q u e s tio n s c r o n o l o g i c a n e l l e o p e re d i M. F. da B a r b e r i n o " , R a c c o l t a d i s t o r i a e c r i t i c a l e t t e r a r i a d e d i c a t a a F. F la m in i d a ' s u o i d i s c e p o l i . P i s a , 1 91 8, p p . 13 f f .

46.

0 . A n to g n o n i, o p . c i t . . p . 94.

47.

G. C a r d u c c i, who a d m i t t e d l y knew l i t t l e of t h e m u s ic a l form , ( o o . c i t . . p . 324) s c a r c e l y to o k t h e m u s ic a l m a d r i g a l i n t o a c c o u n t i n d i s c u s s i n g t h e d ev elo p m en t o f t h e 1 4 th c e n t u r y form .

43.

Li G o tti, P i r r o t t a , op. c i t ..

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

4 9 . The i n t e r l o c k i n g rim e-schem e p e r s i s t s i n P e t r a r c h ’ s m a d r i g a ls , p e r h a p s m arking t h e i r c l o s e r e l a t i o n s h i p t o da Tempo's m o d els. 50. L i G o t t i , P i r r o t t a , op. c i t . , p . 60: "La s t r u t t u r a che e t i p i c a d e l m a.drigale p re n d e forma s o l t a n t o quando ( l e c e l l u l e ) s i o r g a n iz z a n o con n e t t a f u n z io n e d i c o n t r a p p o s i z i o n e d i p a r t e , d i c o n t r o a l l ’a g g i u n t a , che t r o v a r a g i o n i d e t e r m i n a n t i s o l t a n t o n e l s e n tim e n to m u s ic a le , d e l d i s t i c o f i n a l e , a mo d i r i t o m e l l o c o n c lu s iv o . . . T ale completamento ( i l d i s t i c o f i n a l e ) e d a to come f a c o l t a t i v o e non a n c o r a f i s s a t o come element© c o n s t i t u t i v e d e l l a com posizione p o e t i c o - m u s i c a l e n e l da Tempo. P o c h i a n n i p i u t a r d i l o troviam o t u t t a v i a , s i n d a i p i u a n t i c h i esem pi d i i n t o n a z i o n i m a d rig a le s c h e che c i sono n o t i , d e f i n i t i v a m e n t e a d o t t a t o , e in t e n z i o n a l m e n t e c a r a t t e r i s a t o d a l l a o p p o s iz io n e che r i s u l t a a l t r e s i , o l t r e che d a g l i e s p e d ie n ti t e c n i c i g ia e s p o s ti, d a l l a d iv e rse in t o n a z i o n e s e n t i m e n t a l e i n c u i e c o n c e p ito i l rito rn e llo " . 51. F. S a c c h e t t i , I I l i b r o d e l l e r im e . B a r i , 1956, p . 150: CLVIII. S o n e tto d i F ranco d e t t o , c o n t r a a uno che v o le a che sue rim e f i l o s o f i c h e e s o t t i l i f o s s o n i n t o n a t e e l e sue n o ia v a . »t • Cosa s o t t i l e i n c a n to poco muda a g l i a m o ro s i v e r s i p a r che s i a m usica d i s e r v i r sempre te n u d a . 5 2 . T h e i r v a r i e t y o f s u b j e c t - m a t t e r was d e s c r i b e d by G. C a rd u c c i, op. c i t . , p p . 543 f f . C ard u cc i a tte m p te d t o t r a c e a l i n e o f dev elop m en t from th e ' o r i g i n a l ' p a s t o r a l them es t o p o l i t i c a l . o r o f f i c i a l l y p re sc rib e d s u b je c ts . In th e l a t t e r he saw a s ig n o f d eg en e racy which t o him j u s t i f i e d t h e m a d r i g a l 's d is a p p e a r a n c e i n th e e a r l y 1 5 th c e n t u r y . I b i d . , see a l s o L i G o t t i , P i r r o t t a , o p . c i t . , p . 6 3. 54. F . S a c c h e t t i , op. c i t . , p . 54, M a d ria le L X III. 55. A. da Tempo, op. c i t . , p. 139: "ex pedit- ipsum c a n t a r e p e r duos ad minus i n d i v e r s i s v o c i b u s c o n c o r d a n tib u G. da Sommacampagna, op. c i t . . p . 155j D. S a n t o r r e , "Un t r a t a t e l l o . . . " , S t u d i m e d i e v a l i , 1907, v o l . I I , p . 80. A cco rd ing to P i r r o t t a , o p . . c i t . , p . 50, th e p o ly p h o n ic c h a r a c t e r o f th e m a d rig a l d i s t i n g u i s h e d i t from t h e b a l l a t a . which he c o n s id e r e d a s o r i g i n a l l y m onodic, d e v e l o p in g i n t o a p o ly p h o n ic s t r u c t u r e l a t e r and p r o b a b ly th ro u g h th e i n f l u e n c e o f t h e m a d r i g a l . On th e o t h e r hand, we canno t a f f i r m t h a t th e m a d rig a l

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144.

was alw a y s p o ly p h o n ic , s i n c e da Terapo t e l l s u s t h a t i t was o c c a s i o n a l l y sun;- by a s i n g l e v o ic e . 56. 6 . C a r d u c c i, oo. c i t . , o. 508. 57. "Chronica d e l co n v en to d i S. C a t e r i n a d i P i s a " , oo. c i t . , p. 554: " F r a t e r Geo r g i u s n o v i t i u s f u i s s e t i n s i g n i s c a n t o r i n mundo; naincue, anhuc p u e r , qu id c.u id e re .t i n a r t e m usicae c i r c a r a a t r i a l i a , e tia r a d i f f i c i l l i r a a , d e c a n t e b a t : c u j u s vox s u a v is s im a e t a r s n o ta ." 5 8. L i u o t t i , P i r r o t t a , o p . c . i t . , pp. 6 2 - 5 . 59. F . t> a .c c h e tti, oo. c i t . , p . 159. 6 0 . Q uoted by C. C-arducci, op. c i t . , p . 520. 61.

G. C g g a r i, d j e b n ts te h u n g d es M a d r ig a l s ini 1 6 . J a h r h u n d e r t , Cremona, 1908, p . 71 .

62.

Ib id . ,

p . 25.

65.

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p . 51.

64.

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p . 57.

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p . 18.

66.

R. L i t n e r , B i b l i o g r a p h i e d e r musik-sa.mmelwerke d e s AVI . mid X V II. l a h r h u n d e r t s , B e r l i n , 18 77j E. V ogel, B ib lio th e /'. d e r g e d r u c k t en w e l t l i c h e n V ocalnm sik I t a l i e n s a u s dem J a h r e n 1 5 0 0 -1 7 0 0 , 2 v o l . , B e r l i n , 1892.

67.

H. P r u n i e r e s , M o n te v e rd i, h i s l i f e and w o rk s , London, 1926, p . 46.

68.

P . Bembo, op. c i t . , v o l . X, p. 502.

69.

P . Wagner, Das M a d rig a l und P a l e s t r i n a , L e i p z i g , 1892, p . 425.

70.

G. C e s a r i , op. c i t . , pp. 3 f f .

71.

G. T r i s s i n o , op. c i t . , f o l . L X III f f .

72.

L. D o lc e , op. c i t . , pp. 227 f f .

75'.

P ig n a , I ro m a n z i,

V en ezia, 1554, p . 62 .

74.

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75.

G. xvu s c e l l i , o p . c i t . , pp. 55 f f .

76.

F . M a s s i n i , op. c i t . , pp. 157, 177

ff.

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Most i n t e r e s t i n g o f t h e s e fir- t h e m a d r i g a ls o f M ic h e la n g e lo , 33. B u o n a r o t t i , 10" m a d r i g a ls i n Rime, F i r e n z e , 1675.

78.

F or a c l a s s i f i c a t i o n o f t h e 1 6 th c e n t u r y m a d rig a l a c c o r d i n g t o s u b j e c t - m a t t e r , see S. T o r a a s e lli , S a g g io . I I M a d r i g a l e , B e l lu n o , 1904.

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J . H u tto n , op. c i t . , pp. 50 , 37,5.

CO 00

G. B. M arin o , P o e s ie v a r i e , p. 66.



00

pp. 56

Co CO

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77 .

CO

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B. C roce, S ag g i s u l l a l e t t e r a t u r a d e l Se i c e n t o , 1911, p. 420.

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90.

The m a d r i g a l s o f th e p r o l i f i c w r i t e r G. B. S t r o s z i , f o r exam ple, were f i r s t p u b l i s h e d posth u m o u sly and o n ly i n p a r t i n 1593. See G. 3 . S t r o z z i , op. c i t . , p . 18.

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A. Gu a s c o , Tela cnngiante, Milano, 1605, in-8, and 1605, i n - 1 2 . F or an i d e a o f th e o r o p o r t i o n s o f t h i s l i t e r a t u r e , s e e Q u a d rio , op.' c i t . , v o l . 6 , p p . 5i b f f . , and a l s o t h e b i l i o g r a o h y o f S. T o r a a s e l l i *s d i s s e r t a t i o n ( op. c i t . )

p p . 582-3.

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146. Chapter II

1 . 0 . B lo c h , D i c t i o n n a i r e ety m o log iq ue de l a la n g u e f r a n c a i s e , P a r i s , 1952, " m a d r i g a l" . a 2 . B-

Ape:.a,

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4 . P. de R o n sard , O e u v re s , ed. c r i t . P . L aum onier, P a r i s , 1934, v o l . 7 , p . 272. 5. E. P i c o t , Les F r a n c a i s i t a l i a n i s a n t s au 1 6 e. s i e c l e , P a r i s , 1 9 0 6 ,11v o l . 1 , p . 258. 6 . La Noiie, Le d i c t i o n n a i r e d es rim es f r a n c o y s e s , P a r i s ,

1596, u n d er " a l e " : "M a d rig a le - E spece de Musique l a q u e l l e , p o u rc e q u ’on a de coutume d ' a p p r o p r i e r aux M a d r ig a l e s , on a p p e l l e de l e u r nom." 7 . E.

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147.

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E. H. ^ 'e ilo v /es, The E n g l i s h m a d r i g a l , London, 1925; The E n g l i s h m a d rig a l co m p o se rs , O x fo rd , .1925; The E n g l is h m a d r i g a l s c h o o l, London, 1925.

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15?

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45.

" B ib . Ar s . Ms. 4 1 2 5 ," oo. c i t . , o.

46.

" T i r s i s d ’un ex ces de p l a i s i r " .

47.

G. Menage, "L' A n t i - B a i i l e t ” , oo. c i t . . v o l . 2, p p. 1 8 8 -9 .

43 .

S ain t-A rn an t, O e u v re s ,

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J . de -^ingendes, O eu vres o o e t i o u e s , M a n c h e s te r , p p . 165 f f .

50.

B ib . A rs. Ms. 4115, Beclj e i]_ r}e C o n r a r t en 24 v o l , v o l . 10, p. 248.

51.

La Haye, 1716, p . 105.

52.

U. C h ev rea u , P o e s i e s ,

53.

P a r i s , 1666, v o l . I ,

64.

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55.

C. C o t i n , "La M e n a g e rie " , La Have, 1666, B ib . A rs. Ms. 515.1, B e c u e il de uo n r a r t en 2 v o l , v o l . 1 , p. 165.

56.

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1651, 2 e p a r t i e , p. 51.

1656, p p. 89, 90,

1916.

92.

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P a ris,

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1770,

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154.

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1.

0 . C. k e u r e , op. c i t . , p . 251.

2. G. ^ .g y n ie r, Le roman s e n t i m e n t a l a r a n t I ' A s t r e e , P a r i s , 1908, p. 515. 5.

0 . C. R eure, op. c i t . ,

4.

H. d 'U r f e ', op. c i t . , l ? e . p a r t i e ,

5.

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6

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pp. 2 51-2. p.

184.

I b i d . , p . 208.

7.

Ib id .,

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8.

"D'un e o e u r oubrecvd.de", d'Urfe'', 1 14 s t r e e , p a r t 1, e d . “ i b l i o t e c - a roman l e a , S t r a s b u r g o , n . d . , v o l . 1, p. 510.

9.

Ii. d ' U r f e , " L 'A s t r e 'e " , n o u v e l le ed . H. Vapanay, o o. c i t ., 2 e . p a r t i e , p . 108.

1 0 . Ib id .,

5 e . p a r t i e , p . 454.

11. I b i d . ,

4 e, p a r t i e , p . 551.

12. I b i d . ,

5 e. p a r t i e , p. 402.

15 .

1'his I n d i c a t i o n was v e r y k i n d l y g iv e n to :ne by B aron de Van, a t t a c h e d t o th e D e p 't . o f Music a t th e B i b l i o t h e q u e R a t i o n a l e , where th e B e s s u s , '-’xnouiesme and Haute C o n tre o f t h i s c o l l e c t i o n a r e p r e s e r v e d .

14.

F. l e

M. de B o i s r o b e r t , Les e p i s t r e s en v e r s , P a r i s , 1 6 5 9 ,

p .

2 9 8 .

15.

P r e s e r v e d a t th e ^ i b l i o t h t k p i e du C0 n s e r v a ^ 0 j_r e -j_n P a r i s , B-eserve, 1297.

16.

I b i d . , " -a v e rtiss e m e n t" .

17.

T. G e r o ld , Zur G e s c h ic h te d e r f r a n a o s i s c h e n C e s a n g s k u n s t im XVII J a h r h u n d e r t , L e io r .ig , 1910, p. 51.

13. 19.

F . L a c h e v re , op. c i t . . von. 8 , p. 169. Ib id .,

v o l . 2 , pp. 195, 470.

80. B en se-D u p u is, op. c i t . , " L 'A p o llo n i t a l i e n d e s v e r s " , ?x .

p. 177.

B. os '-"enece”, Foirraiiimes . . . avec un t r a i t s de 1 ' eoigrftEune. P a r i s , 1717, p.LXI.

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2 2 . E. A.ubert, o p. c i t . . p . 8 8 8 . 2 3 . L es d e l i c e s de l a o o e s i e f r a n c a i s e t P a r i s , 1620, v o l . 1 , p p . 311, 312j vcS.. 2, p p . 58, 59, 60, 61 62, 63. 2 4 . I b i d . , v o l . 2 , p . 58. 2 5 . 0 . C. Reure, op. e l t . i p p . 275 f f and 314. 2 6 . M. de S cu d ery , Almahide ou l ge s c l a v e r e i n e T 8 v o l . , P a r i s , 1 6 6 0 -5 , v o l . 3, p . 1628. 2 7 . M. de S cudery, La promenade de V e rs a i l l e s . P a r i s 1669, p p . 214, 2607" 326, 570.

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156.

Chfi napuer 1.

Le r e c w e i l d e s u l u s beaux v e r s , P a r i s , i o u s s a i n c t du B ray ,

2.

Les n o u v e l l e s muses d e s s i e u r s Godeau, C-haoelain V ? . P a r i s , R o b e rt S e r t a u t , 1655.

5.

G. C o l i e t e t , Les d i v e r t i s s e m e n s de C o l l e t e t , P a r i s , 1651.

4.

P. C o r n e i l l e , C l i t a n d r e ,

5.

G. C o l l e t e t ,

6.

"La pomp'e f u n e b r e de V o i t u r e " , i n J . F . H a r a s in , O euvres, ed . i’e s t u g i e r e , P a r i s , 1926, p. 447.

7.

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3.

Ib id .,

9.

F . L a c h e v re , o u. c i t . , v o l . 2, p. 615, "D epu is 1 e j o u r que v os beau x yeu x".

P a r i s , 1652,

j • IJ- 7•-" *

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v o l . 2 , o. 516.

1 0 . P o u r un d ia m a n t t a i l l e ' en c o e u r . M a d r i g a l , " P o u r ra o n tre r aue t e s yeux v a i n q u e u r s " , B.N.N. A.cq. Ms. 10623, f . 15. 11.

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IP .

J . ^ h a p e l a i n , oo. c i t . , v o l .

1 ?.

i£. wagne,

14 .

ib id .,

15 .

G. de S c u d e ry , Le v a s s a l g e h e re u x , s u i v i de A u tr e s o e u v r e s , P a r i s , 1656, p . 122. * ”

16.

L. JAagne,

17 *

La Gui r l a n d e de J u l i e , "La v i o l e t t e " .

1, pp. 46 f f .

" V o i t u r e e t 1 ’H o te l de R a r a b o u ille t, L es an n ee s de g l o i r e " , op. c i t . , p. 217.

p. 217; see a l s o F. L o r i n , "One s o i r e e au c h a t e a u de R a r a b o u ille t, novembre, 1 6 5 5 ", Memoires de l a S o c i/te " A re h e o lo g in u e d e R a m h o u i l l e t , 1391, v o l . 10, p. 569, who s t a t e s h i s b e l i e f t h a t th e G u ir la n d e was composed o f v e r s e tn b e n from J u l i e ' s albu m , However C h a p e l a i n 's l e t t e r to V io n ta u sier and S c u d e r y 's s ta t e m e n t t h a t h i s " 'f l e u r s " w ere composed e x p re s s ly f o r th e G u irlan d e d isp ro v e h i s th e o ry .

" V o i tu r e e t 1 *H o te l de R sm sbouillet. Les an n e e s de g l o i r e " , oo. c i t . , pp. 213 f f . , n o t e 1. ed . Ad. van S e v e r , P a r i s , 1907,

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p .

52,

157.

18.

I b i d . , p.

46.

19 .

E. Magne, " V o itu re e t I ' H S t e l de R a r a b o u ille t. annexes de g l o i r e " , op. c -it. , pp. 2 2 1 - 2 .

P.O.

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See p . 100 f o r f u r t h e r d i s c u s s i o n o f t h i s p o i n t and t h e Appendix f o r b i b l i o g r a p h i c a l e v id e n c e .

25.

L. B elm ont, "Documents i n e c lit s s u r l a s o c i e t e e t l a l i t t e ’r a t u r e p’r d c i e u s e s " , Rev. d rh i s t . l i t t , , v o l . 9, 1902, pp. 646 -675.

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p . P e l l i s s o n - F o n t a n i e r , La .jou r n e'e d e s m a d rig a u x , ed . E. Colombey, P a r i s , 1856.

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I b i d . , p . 18.

27.

I b i d . , p . 19.

23.

I b i d . , p . 24.

29.

I b i d . , p . 29.

50.

I b i d . , p. 50.

51.

I b i d . , p . 52.

52.

I b i d . , p . 53.

55.

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54.

G. Menage, "Poemata", op. c i t . , p. 547.

55.

P. S c a r r o n , O e u v re s ,

56.

J . de S e g r a i s , Dive r s e ?, p o e s i e s ,

57.

J . de La F o n t a i n e , O e u v re s , ed. H. R e g n ie r , P a r i s , 1392, v o l . 9 , p. 57. ’

58.

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4 j. .

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105.

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P a r i s , 1736, v o l . 7 , o . 5-40. P a r i s , 1658, p. 101.

p . 111.

2 v o l . , Amsterdam, 1747, v o l . 2 , p. 1.

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iro

42.

E. P a v i l i o n , o p . c i t . , v o l . 2, p . 2.

45.

J.

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La Su/,e, P e l l i s s o n , P-ecueil de p i e c e s pai a n t e s , Trevoux, 1741, 5 v o l . , v o l . 2, pp. 1 5 ? - ? .

46.

I b i d . . , v o l . 5, p. 95.

47.

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51.

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55.

G. menage, " M e sc o lan ze ", op. c i t . ,

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159. Chapter VI

1.

T. d e s Reaux, o o. c i t . , v o l .

5 , p . 169.

2.

S. i 'o m a s e i l i , £ £ ^ ._ .c it., pp. 66 f f . Cap. m a d r i g a le r e l i g i o s o " .

5.

J . de l a ^ e s n & r d i e r e , L es p o e s i e s ,

4.

M o l i e r e , op. c i t . , v o l . 2, p . 85.

5.

M ile . D e s j a r d i n s , P .e cit en p ro se e t en v e r s tie 1 a f a r c e d e s P r e c i e u s e s ,P a r i s , B a r b i n , 1660, p. 25.

6.

N. E o iie a u -D e s o re & u x , " L 'A r t p o e t i o u e , " op. c i t . , p. 2?, c h a n t 2 , ' l i n e s .1 0 5 -6 , 111.

7.

Le P . P.apin, R e f l e x io n s sur l a p o e t i n u e d 'A r i s t o t e , P a r i s , 1674, p. 247.

8.

M o l i e r e , op. c i t . , vo. 1 . 9 , p . 150. rih i s poem, . e n t i t l e d E p i g r am by M o lie r e , had ap p ea red i n 1665. i n t h e O euvres r a l a n t e s o f Co t i n , p. 44.5, w ith t h e t i t l e Mad r i g a l .

9.

C. G o tin , o p. c i t . ,

18, " I I

P a r i s , 1656, p. 442.

p. 445, n o t e .

1 0 . G. C u e r e t , "Le P a r n a s s e reforme*", L es a u t e u r s en a e l l e huineur, Amsterdam, 17 2 5 , p . 50. 11.

I b i d . , lo c . c i t .

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I b i d . , p. 76.

15.

M ile . D e s j a r d i n s , l o c . ci t .

14.

D. H uet, " H u e tia n a " , oo. c i t . , p . 1 75.

15.

Ib id . ,

16.

I b i d . , p. 52.

p. 51.

17.

M o lie re , op. c i t ., v o l. I I ,

18.

Le

19.

P.

p.

3c.

Rapin, op. c i t . , pp. 2 4 4 -5 .

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20.

J.

de

La R c n t a i n e , op. c i t . . v o l . 9 , p. 108.

21.

J.

de

C a i l l y , D jv e r s e s petites p o e s i e s .

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le o , Chartsi' VII

i.

P. P e l l i s s o n - F o n t a n i e r , "La oo. c - i t . , p . £4.

jo u r n e e d e s m a d rif a u x ” ,

P.

J . R acin e, O e u v re s ,

5.

Mrae. D e s h o u l i e r e s , O eu v res, p . 95.

4.

J . de G a i l l y , op. c i t . ,

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fii. de M o n tr e u i l, P o e 's i e s .

6.

F. de B o i s r o b e r t , op. c i t . ,

7.

E. p a v i l i o n , oo. c i t . , v o l . 2, p. 6 6 .

3.

T r i s t a n I ' t i e r m i t e , "Les am ou rs", P a r i s , 1658, S ta n c e s e t a u t r e s o e u v r e s , P a r i s , La S i r e i n e , n . d . , p . 59.

9.

B ib . A rs. Ms. 4115, R e c u e ii de C o n r a r t en £4 v o l . , in -4 , v o l . 1 0 , p . 865,- Ms. 41£9, I b i d . , v o l . £4, p . 54£.

10.

A. F u r e t i e r e , R e c u e ii d es f a c t u a s ,

11.

G. G u e re t, La promenade de S t . C lo u d , e d .■■ivlonval, p . 94.

12 .

F . L ac h e v re , op. c i t . , v o l . 2 , pp. 591-6, v o l . pp. 4 5 6 -7 .

15.

?ii. de “‘o n t r e u i l , P o e 's ie s , ed. 0 . Uzanne, o p . c i t . , p . 72.

ed. P . M esnard, P a r i s , 1836, v o l . 4, p .

£07

P a r i s , 1747 , P. v o l . , v o l . I ,

p . £50. e d . 0 . Usanne, P a r i s ,

1878, p. 7 8.

op. £65 f f .

P a r i s , 1859, v o l . £ ,

P a r i s , 16.66, o.

p. 195.

P a r i s , .L3S8,

5,

14 .

M. de M o n tr e u i l, O e u v re s ,

590.

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P . R i c h e l e t , La v e r s i f i c a t i o n f r a n coi s e , P a r i s , 1671, p . 71.

16 .

Les o lu s b e l l e s l e t t r e s d e s m e i l l e u r s a u t e u r s f r a n c o i s , Lyon, 1689, p. 4.~ J

17 .

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R. de La S a b l i e r e , M adrigaux de M .D .L .S ., P a r i s , B a rb in , 1680, c o n t a i n i n g 155 m a d r i g a ls i n 6 b o o k s , s t a n c e s , a "poenie", ep ig ra m s and a chanson.

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161.

19.

F . L a c h e v r e , oo. c i t . , v o l . 5, pp. 6 8 6 -4 .

20 .

r.i. de La S a b l i b r e , K a d r ig a u x , ed. Ch. N o d ie r , P a r i s , 1825.

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D. M orn et, "C o m p te -ren d u " , L'Abbe/ d e P u r e . La P r e t i e u s e , ed E. Magne, Rev, d ^ i s t . l i t t . , P a r i s , J u i l i e t - D e c . , 1959, p . 250.

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Chapter VIII 1 . E. A u b e r t, op. c i t . , p . 836. 2 . G. C o l l e t e t , L *E scole d e s m uses. P a r i s , 1 65 2, 2 e. p a r t i e , chap. XIX. 3. M ile . D e s j a r d i n s , l o c . c i t . 4 . P. de l a C ro ix . L*Art de l a p o e s i e f r a n c o i s e . P a r i s , 1675, p . 97. 5 . T. L 'H e r m i te , Les v e r s h e r o i q u e s . P a r i s , 1648, p . 282. 6 . B i b . Ars.M s. 41 15 , R e c u e i i de C o n r a r t en 24 v o l . i n - 4 , v o l . 10, p p . 6 5 , 6 6 .

7 . I . de B e n s e ra d e , Les o e u v r e s . P a r i s , 1697, v o l . 2 , pp . 8 0 -1 . 8 . P . A. B e c k e r, "Z ur G e s c h ic h te d e r V ers l i b r e " , o p . c i t . ,

p . 98. 9 . I b i d . , p p . 101 f f . 1 0 . P . M a rtin o n , Les s t r o p h e s , P a r i s , 1912, p p. 61 f f . 1 1 . C. C o ti n , op . c i t . . p . 460. 1 2 . M. M arques, T ra lte " de l a p o e s i e f r a n c o i s e . T o ulo n, 1697, p . 5 . 5 1 3 . C.V. D a l i b r a y , " D is c o u r s s u r l e s o n n e t" , O euvres p o e t i q u e s , P a r i s , 1653. 14.

P. R i c h e l e t , " D i c t i o n n a i r e f r a n c o i s " , op. c i t . , " m a d r ig a l"

15.

G. C o l l e t e t , " E p i s t r e l i r a i n a i r e au C a r d i n a l M a z a rin " , A rt P o e t i q u e , o p. c i t .

1 6 . A. F u r e t i e r e , " D i c t i o n n a i r e u n i v e r s e l " , op. c i t . . "m ad rig al". 1 7 . B o i l e a u , op. c i t . , p . 23 , c h a n t 2 , l i n e s 1 4 3 -4 . 1 8 . G. G u e re t, "La promenade de S t . C lo ud", o p . c i t . . p . 9 4. 19.

G. C o l l e t e t , " L 'A r t p o e t i q u e " , op. c i t . . p .

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20.

F o r exam ple, C. Co^tin, op. c i t . . p . 460; C. L a n c e l o t , Q u a t r e ' t r a i t e s . P a r i s , 1663, p . 39; P . R i c h e l e t , " T r a i t e de V epigram m e", R e c u e ii d es p l u s b e l l e s epigrammes. P a r i s , 1698, v o l . 1 , p . 7 3 .

21. C. C o ti n , op. c i t . , p . 466.

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22.

C f. c h a p t e r I , P a r t I . The o r i g i n o f t h e word " m a d r i g a l" .

2 5 . C. C o t i n , o p . c i t . , p . 469. 2 4 . I b i d . . p . 470. 2 5 . I b i d . , p . 471. 2 6 . Mrae. de Sevigne", o p. c i t . , v o l . 7 , p . 31, 2 7 . D i c t i o n n a i r e de I *1Academic f r a n c a i s e , P a r i s , 1694, "madrigal”. 0 2 8 . A. B a t t e u x , P r i n c i p e s de l a l i t t e r a t u r e , Lyon, 1302, v o l . 3, p . 351. 2 9 . W. de L e r b e r , L 1I n f l u e n c e de Clement M a r o t . . . , P a r i s , 1920, pp. 11 f f . 30. G. C o l l e t e t , Epigrammes, P a r i s , 1553. 31 . J . de C a i l l y , o p . c i t , , " P r e f a c e ” . 32 . G. B r e b e u f , P o e s ie s d i v e r s e s . P a r i s , 1658, p p . 57-186. 3 3 . B ib . A r s . Ms. 4123. R e c u e ii de C o n r a r t en 24 v o l . , i n - 4 , v o l . 1 8, p . 57 (C f . chap. 3, n o t e 4 5 .) 34. F . L a c h e v re , D i s c i p l e s e t s u c c e s s e u r s de T h e o p h ile de V ia u , v o l . 1 , P a r i s , 1911, p p . 465 f f . 35. B ib . A rs. Ms. 4127. R e c u e ii de C o n r a r t en 24 v o l . , i n - 4 , v o l . 22, p p . 199, 202. 3 6 . F . L a c h e v r e , Les o e u v re s l i b e r t i n e s de C laude Le P e t i t , n . p . , 1918, p . X V III. 3 7 . F . L a c h e v r e , L es d e r n i e r s l i b e r t i n s , P a r i s , 1924 , p p . 244 f f . 33.

G. B r e b e u f , "La g a g e u r e " , p i e c e XXXIX, L es o e u v r e s . P a r i s , 1664, v o l . 2 , p . 281.

39 . G. B r e b e u f , " P o e s i e s d i v e r s e s " , op. c i t . . p . 279. 4 0 . P . S c a r r o n , o p . c i t . . p . 340. 4 1 . "La G u ir la n d e de J u l i e " , op. c i t . , p . 47. 4 2 . M. de M o n t r e u i l , "O e u v res", P a r i s , 1666, o p.

c i t . . p . 568.

4 3 . M. de La S a b l i e r e , "m ad rig au x ", ed . N o d ie r , o p . c i t . , p . X III. ~ 4 4 . P . C o r n e i l l e , " C l i t a u d r e " , op. c i t . , p . 148.

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164.

45.

J . de C a i l l y , " p o e s i e s " , op. c i t . ,

p. 159.

46.

"La G u i r la n d e de J u l i e " , op. c i t . ,

pp. 67, 6 8 .

47.

S. de S om aize, Le d i c t i o n n a i r e d e s P r e c i e u s e s , L i v e t , P a r i s , 1886, v o l . 2, p . 87.

43.

M. de M o n t r e u i l , " P o e s i e s " , ed. Uzanne, o n . c i t . , p . 77.

49.

M. de La S a b l i ^ r e , "M a d rig au x ", ed . N o d ie r , o o . c i t . , p. LXXXVII.

50.

I b id ., p.

51.

V o lta ire ,

52.

i% e. de S t a e l . m a g n if ie d u nd ulv th e m adrigal's p h i l o s o p h i c c o n t e n t , i g n o r i n g a l l i t s g a y e ty an d i n t e l l e c t u a l p la y , when sh e w ro te (De I 'A l l e m a g n e , P a r i s , 1818, p a r t I I I , chap. I I , v o l . I l l , p . 2 4 l ) : Tous l e s m adrigaux d i s e n t un g ran d mot p h i l o s o p h i q u e , en r e p d t a n t que c ' e s t p o u r j e ne s a i s q u o i q u 'o n aim e, c a r .je ne s a i s q u o i c ' e s t 1 ' ensemble e t I 'h a r r a o n i e que nous r e c o n n a i s s o n s p a r 1 ' amour. The same h i n d o f d i s t o r t i o n i s fo u n d i n B a u d e l a i r e ' s "M adrigal t r i s t e " . (" L e s f l e u r s . d u m a l" , O euvres c o m p le te s , e d . c r i t , F .F . G a u t e i e r , P a r i s , 19181977, v o l . 1 , pp. 2 9 7 - 9 ) .

57.

See t h e s h o r t poems o f Mallarme l a t e r p u b l i s h e d w ith t h e t i t l e o f m a d r i g a ls i n a volume i l l u s t r a t e d by Raoul Dufy and r e m i n i s c e n t c f t h e d u i r l a n d e de J u l i e . (S . M allarm d, M adrigaux , P a r i s , La S i r e i n e , 1 9 25).

ed .

CXX. "Le S i e c l e de L ou is XIV", O euvres c o m p l e t e s , P a r i s , 1878, v o l . 1 4, p . 126.

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Appendix

M a d r ig a ls a p p e a r in g i n th e R e c u e i l s C o l i e c t i f s

l i s t e d by F. L achevre, B ib lio g ra p h ie des r e c u e i l s c o l i e c t i f s de p o d s ie s , p u b l i e e s de 1597 a 1 7 0 0 . P a r i s , 190 1 -5 .

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

166.

A oaenaix Table of Madrigals in 17th Century Recueils Coliectifs

1597-1655 1620 ~ Les d e 'l i c e s de l a o o e s ie f r a n c o i . s e > P a r i s , T o u s s a i n c t du Bray a - 6 m a d r ig a ls 1627 - Le r e c u e i i d es p lu s beaux v e r s , du Bray - 2 m a d ri g a ls

P a r is , T o u ssain ct

1653 “ Les n o u v e l l e s muses d e s s i e u r s Godeau, C h a p e l a in , . . P a r i s , R ob ert B e r t a u t - 2 m a d r i g a ls

1636-1661 1644 - Les c h e v i l l e s de Me. Ada.mt - 1 m a d rig a l

P a r i s , 1‘o u s s a i n t Q u in e t

1646 - Le nouveau r e c u e i i des bons v e r s de ce te m p s , P a r i s , C ardin Besongne - 3 m a d r ig a ls 1652 - R e c u e ii de d i v e r s e s p o e s i e s , P a r i s , Chamhoudry - 1 7 m a d r ig a ls 1655 - Nouveau r e c u e i i de noe"sies , P a r i s , Chamhoudry - 4 m a d r ig a ls 165? - R e c u e ii de poe’s i e s c h o i s i e s . P a r i s , C h a r l e s de S e rc y , P a r t I , e d i t i o n I - 2.4 m a d r i g a ls 165? - R e c u e ii de p o e'sies c h o i s i e s , P a r i s , C h a r l e s de S ercy, p a r t I , e d itio n I I - 10 m a d rig a ls 165?

R e c u e ii de p o e s ie s c h o i s i e s . P a r i s , C h a r l e s de Sercy, p a r t I I - 42 m a d rig a ls - 24 " f l e u r s " f o r th e G u ir la n d e de J u l i e

1654 - Le nouveau r e c u e i i de p o e s i e s . - 1 m a d rig a l

P a r i s , Chamhoudry

1654 - Nouveau r e c u e i i des p lu s b e l l e s p o e s i e s , Vefve Loyson ~ ” - 9 m a d rig a ls

P a ris ’

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

1656 - R e c u e i i d e p o e s i e s c h o i s i e s , P a r i s , C h a r l e s de Sercy, part III, edition 1 - 6 3 madrigals 1657 - La l y r e du .jeune A p o llo n ( B e a u c h a s te a u ) , P a r i s , Charles de Sercy - 2 4 madrigals 1658 - R e c u e ii de p o e s i e s c h o i s i e s , P a r i s , C h a r l e s de Sercy, part III, edition II -1 madrigal 1658 - Le nouveau c a b i n e t d e s muses ( b ) , P a r i s , Le C hasseur - 1 2 m a d r i g a ls 1658 - Les muses illustres, Paris, Chamhoudry -6 madrigals 1658 - R e c u e ii de p o e s i e s c h o i s i e s . P a r i s , C h a r l e s de Sercy, part IV -3L madrigals 1659 - La muse c o q u e t t e (A) , P a r i s , Loyson - 3 m a d r i g a ls 1659 - La muse c o q u e t t e ( b ) , P a r i s , Loyson - 1 m a d rig a l 1560 - R e c u e i i de p o e s i e s c h o i s i e s . P a r i s , C h a r l e s de Sercy, part V - 5 9 madrigals 1661 - R e c u e i i de d i v e r s e s p o e s i e s c h o i s i e s . Amsterdam - 1 m a d rig a l 1662 - R e c u e i i de p i e c e s en p r o s e , P a r i 3 , C h a r l e s de S ercy - 2 m a d r i g a ls

1662-1700 1663 - L es d ^ l i c e s de l a p o e s i e g a l a n t e (A) , P a r i s , R ibou - 1 4 m a d r i g a ls 1663 — R e c u e ii de q u e l q u e s p i e c e s n o u v e l l e s e t g a l a n t e s , Cologne •6 m a d r i g a ls 1664 ~ Les._d e l i c e s de l a p o e s i e g a l a n t e (A ), P a r i s , R ib o u , part II -16 m a d r i g a ls

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1664 - Nouveau r e c u e i i de P i e c e s c h o i s i e s , P a r i s , Q u in e t - 1 m a d rig a l 1664 - Nouveau m eslang e de p i e c e s c u r i e u s e s , P a r i s , Sommaville - 2 m a d r ig a ls 1666 - S entim ens d 'a m o u r , . - 72. m a d r i g a ls

P a r i s , H arb in

1665 - Le nouveau p a r n a s s e des muses g a l a n t e s , P a r i s , Loyson - 4 m a d r ig a ls 1665 - Le nouveau c a b i n e t d e s muses g a i l l a r d e s , n . p . - 1 m a d rig a l 1665 - S u i t t e du nouveau r e c u e i i de o l u s i e u r s e t d i v e r s e s p ie c e s g a la n te s , n .p . - 15 m a d ri g a ls 1666 - Nouveau r e c u e i i de 'o l u s i e u r s e t d i v e r s e s n i e c e s g a la n te s , n .p . - 9 m a d r i g a ls 1666 - Elo g ia. J u l i i M a z a r i n i , p a r i s i i s - 1 m a d rig a l 1666 - R e c u e ii de p i e c e s g a l a n t e s (La Suze - P e l l i s s o n ) , P a r i s , Q u in e t, e d i t i o n I I - 5 m a d r i g a ls ' 1666 - Les d e l i c e s de l a o o e s i e g a l a n t e ( B ) , P a r i s , L ib o u , p art I - 4 m a d r i g a ls 1667 - Les d e l i c e s de l a poe'sie g a l a n t e ( b ) , P a r i s , R ib o u , part II - 1 m a d rig a l 1667 - R e c u e ii de q u e lq u e s p i e c e s n o u v e l l e s e t g a l a n t e s , Cologne, p a r t I I - 1 m a d rig a l 1667 - Les n o u v e l l e s f l e u r s du P a r n a s s e , Lyon, C-ayet, - 1 m a d rig a l ( p i e c e l i m i n a i r e ) 1667 - Les doux e n t r e t i e n s du P a r n a s s e , P a r i s , Tuoin - 6 m a d r i g a ls 1667 - R e c u e ii c o n t e n a n t . . . l e s maximes e t l o i x d 1am our, Rouen, Lucas - 1 m a d rig a l 1 6 6 3 “ R e c u e ii de p i e c es g a l a n t e s (La

_ P e llisso n ).

P a ris , P u in et, v o l. II - 1 0 m a d r i g a ls Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

1663 - R e c u e i l de p i e c e s g a l a n t e s (La Suze - P e l l i s s o n ) , P a r i s , Q u in e t, v o l . I l l - 2 1 m a d r i g a ls 1670 - L 1E l i t e d e s p o e s i e s h e r o i q u e s e t g a i l l a r d e s , F rancfort -1 m ad rig al 1671 - Les o e u v r e s c a v a l i e r e s . . . .C o logn e - 2 m a d rig als 1671 - R e c u e i l s de p o e s i e s . . . La F o n t a i n e . P a r i s , Le P e t i t , v o l. I - 3 m a d ri g a ls 1671 - ( o r 1674) - R e c u e il de p o e s i e s . . . La F o n t a i n e , P a r i s Le P e t i t , v o l . I I - 8 m a d r i g a ls 1672 - A l a g l o i r e de L o u is l e G rand. P a r i s - 3 m a d r i g a ls 1674 - R e c u e i l de p i e c e s g a l a n t e s (La Suze - P e l l i s s o n ) » P a r i s , Q u in e t, v o l . 1 - 7 m a d ri g a ls 1680 - R e c u e il de p o e s i e s p a r Mme. de L a u v e rg n e , P a r i s , B a r b in - 2 2 m a d r i g a ls 1683 - L * E l i t e d es p o e s i e s h e r o i q u e s e t g a i l l a r d e s . n . p . - 1 m ad rig al 1686 - P a r a l l e l s p o e t i q u e de L o u is l e Grand . . . . H avre de G race, J . G ru ch et - 6 m a d r i g a ls 1688 - La caropagne de M onseigneur l e D aup hin. P a r i s , G u ero u t -6 m a d rig als 1689 - R e c u e i l de p i e c e s d * elo q u e n c e e t de p o e s i e s p r e s e n t e e s a* l ^ c a d ^ m i e f r a n c a i s e . P a r i s -1 m ad rig al ~1 ~ 1691 - R e c u e i l de p i e c e s g a l a n t e s (La Suze - P e l l i s s o n ) , P a r i s , C av e lie r, v o l. I -2 m a d rig als 1691 - R e c u e i l de p i e c e s g a l a n t e s (La Suze - P e l l i s s o n ) P a r i s , C av e lie r, v o l. I I - 2 m a d r i g a ls 1692 - R e c u e i l d es p l u s b e l l e s p i e c e s . P a r i s , B a r b i n , v o l. I - 1 m ad rig al

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1692 - R e c u e il d e s p l u s b e l l e s p i e c e s , P a r i s , B a r b i n .

v o l. I l l - 1 m a d rig a l

1692 - R e c u e i l d e s p l u s b e l l e s p i e c e s . P a r i s , B a r b i n , v o l . IV -44 m a d r i g a ls 1692 - R e c u e i l d es n l u s b e l l e s p i e c e s . P a r i s , B a r b i n , v o l. V - 1 m a d r ig a l 1695 - Le t a b l e a u de l a v i e . . . . R i c h e l i e u . M a z a r i n . . . . Cologne - 1 m a d r ig a l 1693 - R e c u e i l de v e r s c h o i s i s , P a r i s , J o s s e -1 6 m a d ri g a ls 1694 - R e c u e i l de p i e c e s c u r i e u s e s e t n o u v e l l e s , La Have, M o e tje n s , v o l . 1 - 3 m a d r i g a ls 1695 - R e c u e il de p i e c e s c u r i e u s e s e t n o u v e l l e s . La Haye, M o e tje n s , v o l . I l l - 1 m a d r ig a l 1695 - R e c u e i l de p i e c e s c u r i e u s e s e t n o u v e l l e s . La Have, M o e tje n s , v o l . IV - 8 m a d r i g a ls 1696 - R e c u e il de q u e l q u e s p i e c e s c u r i e u s e s c o n c e m a n t l a m o rt de M. A r n a u ld . L i e g e , - 1 m a d rig a l 1696 - R e c u e il de p i e c e s c u r i e u s e s e t n o u v e l l e s . La Haye, M o e tje n s , v o l , V , p a r t s I - I I I -4 m a d r i g a ls 1698 - La n o u v e l l e P a n d o r e . P a r i s , Mazuel -1 6 m a d r i g a ls 1698 - Seconde p a r t i e de l a P a n d o r e . P a r i s , M azuel - 2 1 m a d r i g a ls 1698 - R e c u e il d e s p l u s b e l l e s epigrajnmes. P a r i s , Le C le rc , v o l. 1 -1 9 m a d r i g a ls 1701 “ R e c u e il de p i e c e s c u r i e u s e s e t n o u v e l l e s , La Haye, M o e tje n s , v o l V, p a r t s VI - 1 m a d r i g a l , 1 ’'r e p o n s e 1' 1701 ~ R e c u e il de v e r s c h o i s i s . P a r i s , J o s s e - 2 m a d r i g a ls

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171.

n . d . - Les o l a i s i r s de l a o o e s ie g a l a n t e , n . o. - 21 m a d rig a ls

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Bibliography

I do n o t p r e s e n t t h i s a s a com p lete b i b l i o g r a p h y o f t h e m a d rig a l from i t s b e g i n n in g s i n F ra n c e th r o u g h t h e 1 7 th cen tu ry .

M a d r ig a ls wer~ w r i t t e n d u r i n g t h a t c e n t u r y upon

e v e r y c o n c e iv a b l e o c c a s i o n . i n m a n u s c r i p t. w o rks.

Many a r e p r e s e r v e d , i f a t a l l ,

They were a l s o in c l u d e d i n a l l t y p e s o f l o n g e r

I t would be n e c e s s a r y to exam ine a l l o f t h e l i t e r a t u r e

o f th e c e n t u r y i n o r d e r to p r e p a r e a com plete l i s t o f t h e s e poem s. T h is b i b l i o g r a p h y i s a s n e a r l y c o m p le te a s p o s s i b l e f o r th e 1 6 th c e n t u r y , and I b e l i e v e t h a t i t i n c l u d e s m ost o f t h e m a d r i g a ls which found t h e i r way i n t o p r i n t b e f o r e t h e end o f t h e 1 7 th c e n t u r y .

I have n o t l i s t e d s e p a r a t e l y t h e R e c u e i l s

C o l l e c t i f s o f p o e t r y , s in c e t h e t a b l e i n t h e A ppendix l i s t s t h o s e which c o n t a i n e d m a d r i g a l s .

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W e c k e r lin , J . B . , B i b l i o t h e q u e du C o n s e r v a t o i r e N a t i o n a l de musique e t de d e c l a m a tio n , P a r i s , 1885. Wotquenne, A ., C atalo g u e de l a B i b l i o t h e q u e du C o n s e r v a to i r e r o y a l de musique de B r u x e lle s , B r u x e lle s , 1898-191 2.

I I . Works r e l a t i n g t o m usic. 1.

G en e ra l w o rk s .

B eck, J . , "Review o f L. E llin w o o d , e d . "The w orks o f F r a n c e s c o L a n d in i ( S t u d i e s and do cum ents, n o . 5 ) "Cam bridge, M a s s ., 1939", Speculum, O c t . , 1940, v o l . XV, n o . 4, p p. 5 03 -7. B ontou x, La chanson en A n g l e t e r r e au tem ps d ^ l i s a b e t h , O xford , 1936. B r o s s a r a , S . , D i c t i o n n a i r e de m u sique, Amsterdam, 1701. C e s a r i , G. , Die E n ts te h u n g d es M a d r ig a ls i m -16. J a h r h u n d e r t , Cremona, 1908. C o l i e s , H.C. , G rovers D i c t i o n a r y o f m u sic and m u s i c i a n s , London, 1927. C o l l e t , R. , Le m y s tic is m e m u s ic a l e s p a g n o l a u XVIe. s i e c l e , P a r i s , 1913. D ent, E . J .

, Music o f th e R e n a is sa n c e i n I t a l y , London, 1933.

E i n s t e i n , A ., "Das m a d r i g a l " , Ganymed, v o l . 3, 1921. E llin w o o d , L. , The works o f F ra n c e s c o L a n d i n i . S t u d i e s and docum ents, n o. 5 . Cambridge, M a s s ., 1939. F e ll o w e s , E.H.

, The E n g l is h m a d r i g a l , London, 1925.

F e l l o w e s , E.H.

, The E n g l i s h m a d rig a l co m p o se rs,' O xford, 1921.

F e ll o w e s , E.H.

, The E n g l is h m a d rig a l s c h o o l . London, 1923.

G e ro ld , Th. , Zur G e s c h ic h te d e r f r a n z o s i s c h e n G esan g sk u n st im XVII. J a h r h u n d e r t , L e i p z i g , 19 10. G rove, G. , D i c t i o n a r y o f music and m u s i c i a n s . New York, 1927-38, 5 v o l . , S up p lem en tary v o l . New York, 1940, Helm, E. B* ,"T he 1 6 th C en tu ry F re n c h C h an son ," M.T.N.A. P r o c e e d in g s f o r 19 41. P i t t s b u r g h , P a . , 1942. K ro y e r, Th. , Die Anfange d e r C hrom atik im i t a l i e n i s c h e n M a d rig a l d e s XVI. J a h r h u n d e r t s , L e i p z i g , 1902.

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

175.

L aum onier, P . and Comte, C. . "B-onsard e t i e s m u s ic ie n s du XVIe, s i e c l e " , Rev. d 4 i i s t . l i t t . , v o l . 7 , 190U, pp . 741-81. L a v ig n a c , A. and La L & u r e n c i e , L.., S n c y c lo p e d ie de l a m u s iq u e , P a r i s , 1950. P ru n ie re s , H ., Racek, J .

M o n te v e rd i, h i s l i f e and w o rk , London, 1996.

, "Les raadrigaux a v o ix s e u l e de L u z z a s c h i " , Revue m u s i c a l e , v o l . 15, 1959.

S c o t t . , C.K. , M a d rig a l s i n g i n g , London, 1951. T ierso t, J .

, Ronsard e t l a musique de s o n -te rn p s ,

P a r i s . , n .d .

T rend, J . B. , " S p a n is h m a d r i g a l s " , P r o c e e d i n g s o f th e M u sic a l A s s o c i a t i o n , L eeds, 1921, Trend,

J.

B. , L u i s 'Milan and th e v i h u e l i s t a s ,

T rend,

J.

3 . , The m usic o f S p a n is h h i s t o r y t o 1 6 0 0 , O x fo rd , 1926.

ITrend,

J.

Van den Wagner,

O x fo rd , 1925.

>

B. , "A n o t e on S p a n is h m a d r i g a l s " , I n t e r n a t i o n a l S o c i e t y f o r m usic r e s e a r c h . C o n g r e s s io n a l r e p o r t , 1 95 0. B o r r e n , "Les m a d rig au x de J e a n B r u d ie u " , Revue m u s i c a l e , O c t . 1, 1925, pp. 2 0 7 -1 9 , P-. Das M a d rig a l und P a l e s t r i n a , L e i p z i g , 1392.

W aldberg, M. von , D ie D eu tsch e ^ - e n a is s a n c e - L y r i k , 1 38 3. 2.

B e rlin ,

M u sic a l t e x t s .

Amphion s a c r e ',

Lyon, 1615.

A ux -C ousteaux, Me. A r tu s , M gslanges de Me. A rtu s AuxC o u s te a u x , m a i s t r e de l a musique de l a ^ a i n t e C h a p p e lle de P a r i s , P a r i s , 1644. E x p e r t , H. , Les m a i t r e s m u s ic ie n s de l a R e n a is s a n c e fran caise, P a r i s , 1894. E x p e r t, H. , Les monuments de l a musique f r a n c a i s e , P a r i s , 1924. J La S a b l i t r e , M. de , M adrigaux de M onsieur de l a S a b l i e r e , ( E t d i v e r s a u t r e s o e u v r e s ) , P a r i s . B a l l a r d . 1704.

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

III. Works dealing with the literary madrigal.

1 . T e x ts . a.

F ren ch m a d ri g a l t e x t s o f t h e 1 6 th c e n t u r y ( w ith o t h e r 1 6 th c e n t u r y t e x t s r e f e r r e d t o ) .

B a i f , I .A . , O euvres en rim e de B a i f , ed . M arty-L aveaux, P a r i s , 1881. B e l l e a u , R. , La B e r g e r i e . P a r i s , 1572.

See R o nsard.

B o y s s i e r e s , J . de , Les p r e m i e r e s o e u v r e s am oureuses . P a r i s , 1573. B o y s s i e r e s , J . de , Les s e c o n d e s o e u v r e s p o e t i q u e s . P a r i s , 1568 ( s i c f o r 1 5 7 8 ? ). B o y ssie re s, J .

de , Les t r o i s i e m e s o e u v r e s . Lyon, 1579.

B r i c a r d , P . de , La F l o r i d e a d e l f e d e l s A rdo. P a r t e p r im a . P a r i g g i , 1601. C ornu, p . d e , Les o e u v r e s p o e t i q u e s , Lyon, 1585. D u r a n t, G. , I m i t a t i o n s d u l a t i n de J e a n B o n nefon s. avec a u t r e s g a y e te z am ou reuses de 1 ♦i n v e n t i o n de 1 1a u t h e u r . P a r i s , 1587. D u r a n t, G ., I m i t a t i o n s . . ♦ . , P a r i s , 1588. D u ra n t, G. , Les o e u v re s p o e t i q u e s . P a r i s , 1594. L abe, L. , O e u v re s, ed. B la n ch em a in , P a r i s , 1875. Myron, F . , Of, D u ran t, G ., Les o e u v r e s p o e t i q u e s . P o n to u x , C. d e , G elo dacry e am o u re u se. P a r i s , 1579. Romieu, J . d e ,

M elan ges. Lyon, 1584.

R o n sard , P . de , O euvres c o m p le te s , e d . c r i t . , P . Laum onier, P a r i s , 1 9 1 4 -5 9 , 10 v o l . R o n sard , P . de , O euvres c o m p le te s , e d . L aum on ier, P a r i s . 1 9 14-19, 8 v o l . R on sard, P . de , Les o e u v r e s . P a r i s , 1584. R o n sard , P . de , Les o e u v r e s . P a r i s , 1587. S a i n t G e l a i s , M. d e , O euvres c o m p le te s , ed . B lanchem ain, P a r i s , 1875, 3 v o l . S a i n t G e l a i s , M. de , O euvres de l u y t a n t en com p o sitio n c[ue t r a n s l a t i o n . . . , Lyon, P . de T o u r s , 1547.

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

S a i n t G e l a i s , M. de , O euvres p o e tio .u e s , Lyon, A. de H a rsy , 1574. b.

F re n c h m a d rig a l t e x t s o f th e 1 7 t h c e n t u r y .

B e n s e r a d e , I . de , Les o e u v re s de M. de B e n s e r a d e , P a r i s , 1697, 2 . v o l . B e n s e ra d e , I . de , P o e s i e s , ed . 0 . Uzanne, P a r i s , 1875. B e r n a r d , M ile . , Les evenemens de l a f i n du s i e c l e , n . d . , n . B e r n i e r de l a B r o u s s e , l e s i e u r , Les o e u v r e s p o e t i q u e s , P o i c t i e r s , 1618. B e to u la n d , de , Au R everend P e r e de l a C h a iz e , c o n f e s s e u r du r o i . E p i s t r e , P a r i s , n . d . B i l l a u t , A- , Les c h e v i l l e s de Me. Adam, P a r i s , 1644. B o i l e a u , G. , Les o e u v r e s p o sthum es, P a r i s , 1 670. B o i s r o b e r t , F . l e M, de , Les e p i s t r e s en v e r s e t a u t r e s o e u v r e s p o e t i c u e s , P a r i s , 1659. B o u r s a u l t , Edme, L e t t r e s n o u v e l l e s . . e t p o e s i e s , P a r i s , 1709, 3 v o l . B r e b e u f , G. , P o e s i e s d i v e r s e s , P a r i s , 1658. B r e b e u f , G. , Les o e u v r e s , n o u v e lle m e n t m ise s a u .jo u r, P a r i s , 1664, 2 v o l . B r ie u x , M. de , R e c u e il de p i e c e s en p r o s e e t en v e r s , Caen, 1671. B u s s ie 'r e s , l e P . J . , Les d e s c r i p t i o n s p o e t i q u e s , Lyon, 1649. C a i l l y , J . de , D iv e rs e s p e t i t e s p o e s i e s , P a r i s , 1667. C e r t a i n , M i l e . , N o u v e lle s p o e s i e s . P a r i s , 1665. C h a p e lle , C l . E . , O euvres de C h a p e lle e t de Bachaum ont, P a r i s , 1755. C h a p e lle , C l . E. , O euvres de C h a p e lle e t de Bachaumont. N o u v e lle e c i i t i o n . P a r i s , 1854. C h a r l e v a l , J . L . , P o e s i e s de S t . p a v i n e t de C h a r l e v a l , Amsterdam, 1759. C h a u lieu e t La F a r e , P o e s i e s , Amsterdam, 1724. C hevreau, U. , P o e s i e s . P a r i s , 1656.

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.

C o l l e t e t , C la u d in e , S u r l e t r e p a s de Mr. Rene* M ich el de l a R o c h e m a ille t, n .p . , n .d . C o lle te t, F r.,

J u v e n a l b u r l e s q u e , A n v ers, 1657.

C o l l e t e t , F r . , Les muses i l l u s t r e s . P a r i s , 1658. C o l l e t e t , G. , Epigrammes du s i e u r C o l l e t e t . a v e c un d i s c o u r s de l ^ p l g r a m m e , P a r i s , 1655. C o l l e t e t , G. , Les d i v e r t i s s e m e n s de C o l l e t e t . P a r i s , 1631. C o r n e i l l e , P . . O e u v re s , e d , M arty -L aveau x, P a r i s , 1862. C o rn e ille , P. , C lita n d re . . . P a r i s , 1632.

s u i v i de M eslanges p o e t i q u e s .

C o t i n , C. , O euvres g a l a n t e s en p r o s e e t en v e r s . P a r i s , 1663. C o t i n , C. , La M e n a g e rie , La Haye, 1666. C o t i n , C. , P o e s i e s c h r e t i e n n e s . P a r i s , 1668. Cyrano de B e r g e r a c , O eu v res com iques, g a l a n t e s e t l i t t e r a i r e s , P a r i s , 1858. D a l i b r a y , S i e u r de , O eu v res p o e t i q u e s . P a r i s , 1906. D a l i b r a y , C.V. , Les o e u v r e s p o e t i q u e s , P a r i s , 1655. D e s h o u l i e r e s , Mme. , P o e s i e s de Mme. D e s h o u l i e r e s . P a r i s , 1 6 88 . D e sh o u lie re s,

Mme. , P o e s i e s .

P a r i s , 1693.

D e sh o u lie re s,

Mme. , P o e s i e s .

P a .r i s , 1695.

D e sh o u lie re s,

Mme. , P o e s i e s .

P a r i s , 1705, 2 v o l .

D e s h o u l i e r e s , Mme, , P o e s i e s de Mme. e t de M ile . D e s h o u l i b r e s . Amsterdam, 1709, 2 v o l , D e s h o u l i e r e s , P o e s i e s de t o e , e t de M ile . Deshoul i e r e s . P a r i s , 1 7 0 7 -U , 2 v o l." “ D e s h o u l i e r e s , P o e s i e s de Mme. D e s h o u l i e r e s au gm entees d tune i n f i n i t e de p i e c e s q u i o n t e t e t r o u v e e s chez s e s am is , e t poe s i e s de M ile . D e s h o u l i e r e s . P a r i s . 1 7 2 4 -5 , 2 v o l . D e s h o u l i e r e s , O euvres de Mine, e t de M ile . D e s h o u l i e r e s . P a r i s , 1747, 2 v o l , ~ D esm arets de S a i n t S o r l i n , O euvres p o e t i q u e s . P a r i s , 1641.

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'.79.

Durand, E . , "^e l i v r e d 1amour d ' E s t i e n n e D urand", s e e F. L a c h e v r e , Le l i v r e d 1amour d ' ^ . O . , P a r i s , i 9 0 7 . F e r e t , D. , L ’Y g r e c , m&rtel d ’ h e r e s i e en s o n n e t s , m a d r i g a ls P a r i s , 1614. F 'r e n i c l e , M. , S ur l e t-reoas de Mr. Rene m ic h e l de La fiochemaiL l e t , n . o . , n . d . F u r e t i e r e , A. , P o e s i e s d i v e r s e s , P a r i s , 1655 G i l b e r t , C. f Les o oe'sies d i v e r s e s , P a r i s , 1661. C- u i r l a n d e de J u l i e , -Ua,

ed. van S e v e r , P a r i s , 190?.

L&cger, H. de , Le l i v r e d 1amour . V ers oour I r i - s , 1910. La F a r e , c f .

P a ris,

C h a u lie u e t La F a r e .

La F a r e , C. A. , P o e s i e s , Amsterdam,

1755.

La F o n t a i n e , J . de , O e u v r e s , ed . H. R e g n ie r, P a r i s , 189?. La M e s n a r d ie r e , H. J .

, Les p o e s i e s ,

La “ionnoye, B. de , P o e s i e s ,

P a r i s , 1656.

Haye, 1716.

La Monnoye, B. de , P o e'sies n o u v e l l e s , La S a b l i e r e , ffladrigaux de i u . D . h . 5 . .

La Haye, 1745. P a r i s , 1680.

La S a b l i e r e , M a d rig a u x , Lyon, 1681. La S a b l i e r e , M a d rig au x , L ie g e , 1637. La S a b l i e r e , M a d rig au x ,

e d . Ch. N o d ie r , P a r i s , 1325.

La S a b l i e r e , M ad rig au x , ed. P . B la n ch em a in , P a r i s . 1879. La ^ u z e , Mine, de , c f . R e c u e ils La R u z e - P e l l i s s o n . La S uze, Mme. d e , P o e s i e s de Mme. l a L-fcesse. de l a ^ u z e , P a r i s , 1665. Le Moyne, P. , Les o e u v r e s p o e t i o u e s .

P a r i s , 1671.

Le Pays , ft. , A m itie z , amours e t a m o u r e t t e s ,

P a r i s , 1664.

Le P a y s , ft. , Les n o u v e l l e s o e u v r e s , -Amsterdam, 1674. Le P e t i t , 0 . cx . b . L a c h e v re , Les o e u v r e s " l i b e r t i n e s de Claude Le P e t i t , n . p . , 19‘13. L in g e n d e s , J . de , O euvres o o e t i a u e s . 1916.

ed. c r i t .

. Manehpst.pr,

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180.

M alherbe, hi. de , ■ ‘■'as o o a s ie s de M. de Ma l h e r b e , l a v a u d , P a r i s , 1977. M a l l e v i l l e , C. de , P o e s i e s ,

ed. J.

P a r i s , 1649.

M a l l e v i l l e , C. de , D iv e r s e s p o e s ie s de l 'A c a u e m i e , P a r i s , 1664. M aucroix, F. de , R o u v e lle s o e u v r e s d i v e r s e s de J . de La F o n t a i n e , e t p o e s ie s de F. de H a u c r o ix , P a r i s , 1820. •Maucroix, P . de , O euvres d i v e r s e s ,

Reims, 1854.

M a u au it, M. , Melange de d i v e r s e s p o e s i e s , Lyon, 1631. M aud uit, ill. , I x i o n o r e s de sa r o u e ,

n .p . , n .d .

Menage, G. , A e g i d i l ivienagii M i s c e l l a n e a , Menage, G. , A e g i d i i M snagii P o em a ta,

P a r i s i i s , 165?.

P a r i s i i s , 1656.

Me'nare, G. , Pflenngiana, P a r i s , 1697. M o lie r e , O e u v re s , ed. E. D e s p o is , P a r i s , 1877. M o n tr e u il , M. de , Les o e u v r e s ,

P a r i s , 1666.

M o n tr e u i l, M. de , O e u v re s . P a r i s , 1671. M o n t r e u i l , M. de , O eu vres, P a r i s , 1630. M o n tr e u i l, M. de , P o e s i e s . . . augm entess de p i e c e s i n e d i t e s , e d . 0 . Uzanne, P a r i s , 1873. M o n tr e u i l, M. de , s t a n c e s , m adrigaux , l e t t r e de M. de M o n t r e u i l , P a r i s , 1922. p a v i l i o n , E. , O e u v r e s , Amsterdam, 1747, 2 v o l . P e l i i s s o n - F o n t a n i e r , P . , La jo u r n e e d es m a d rig a u x , P e l l i s s o n - F o n t a n i e r , P. , u e u v r e s d i v e r s e s ,

P a r i s , 1856.

P a r i s , 1775, 7 v o l .

P e r r i n , P. , R e c u e il de p o e 's ie s , P a r i s , 1655. P e r r i n , p . , Les o e u v re s de p o e 's ie , P a r i s , 1661. P in c iie sn e , f*l. d e , P o e'sies h e r o i q u e s ,

P a r i s , 1670.

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131.

p inc hesne, M. de , P o e s i e s m e s l e s s ,

P a r i s , I*3?:?.

P in c h e s n e , i. 275.

D e im ie r, P. , L'Acadernie de L ' a r t ool t i c . u e , P a r i s , 1610. Desma.rets de S a i n t S o r l i n , L es d e l i c e s de l ' e s n r i t , P a r i s , 1658. D esm arets de S a i n t S o r u in , La d e f ense d_e la. no e s i e e t de ■ l a la n g u e f r a n c o i s e , Paris", 1675^' L i c t i o n n a i r e de I'A c ao em ie f r a n c a i s e . P a r i s . ■









-

- ’

1694. -

-

Du Bos, R e f le x io n s cr i t i q u e s s u r l a p o e s ie e t s u r la. o e i n t u r e , D resd e, 1760.

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136.

Durand, E. , M e d i t a t i o n s de E.D. , P a r i s , .L906. F u r e t i e r e , A. , D i c t i o n n a i r e u n i v e r s e l , La Have, 1690,

v o l.

F u r e t i e r e , A. , R e c u e il d es facturns , P a r i s , 1859. Gou.jet, B ib l i o t h e q u e f r a n c a i s e ( see b i b l i o g r a p h i c a l w o r k s ) . G u e r e t, G. , La promenade de S t . C;LOUd , P a r i s , 1888. G u e r e t, G. , Le o a r n a s s e r e f o r m e , P a r i s , 1669. G u e r e t, G. , Les a u t e u r s en b e l l e hum eur, Amsterdam, 17?.?. H u et, P . -D . , B u e t i a n a , P a r i s , 172?. H uet, P .- D . , T r a i t e ' de l ' o r i g i n e d es romans, P a r i s , 1711. Labe^ L o u is e , O e u v re s , ed . Ch. Roy, P a r i s , 1887. La C r o ix , A .P ., L 1A r t c e l a pne'sie f r a n c o i s e , Lyon, 1675. La C r o ix du Maine and Du V e r d i e r , Les b i b l i o t h ^ o u e s . F r a n c o is e s , ed. R ig o ley de J u v ig n y , P a ^ i s , 1772. La. C ro ix du Maine, B i b l i o t h e q u e . p r e m i e r volume, P a r i s , 1584. La H arpe, Lycee ou c o u r s de l i t t e r a t n r e ,

P a r i s , 1334.

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V ita

I , C a t h e r i n e F e h r e r , was born i n Munich. Germany on F e b r u a ry 53, 1911?, o f American p a r e n t a g e , t h e d a u g h t e r o f O sc ar F e h r e r and o f Mabel V a n d e r b i l t .

I was p r e p a r e d f o r

c o l l e g e a t S t . Agatha S ch ool i n New York and i n -1950 e n t e r e d V a s s a r C o lle g e where I com pleted my u n d e r g r a d u a t e work, r e c e i v i n g t h e d e g r e e o f B a c h e lo r ox A r t s i n J u n e , 1954.

The f o l l o w i n g S eptem ber I e n t e r e d Bryn Mawr C o lle g e

a s a g r a d u a t e s t u d e n t , r e c e i v i n g t h e d e g r e e o f M a s te r o f A r ts i n 1935.

D uring t h e y e a r s 1954-36 1 -held a g r a d u a t e

s c h o l a r s h i p i n F ren ch a t Bryn Mawr,

The n e x t two y e a r s

I s p e n t i n F r a n c e , one a s F ranco-A m erican Exchange F e llo w a t th e E cole Morraale S u p ^ r i e u r e de S e v re s and t h e o t h e r i n P a r i s where I s t u d i e d a t t h e Sorbonne .and a t t h e C o lle g e de F r a n c e . The f o l l o w i n g y e a r I r e t u r n e d to Bryn Mawr a s f e l l o w i n F r e n c h . At Bryn Mawr I a t t e n d e d th e g r a d u a t e c o u r s e s g iv e n by M ile . S o u b e ir a n , Mrs. F ra n k , Dr. G i l l e t , Dr. bchenck and Dr. Gilman,

At S e v re s 1 a t t e n d e d p r i n c i p a l l y t h e c o u r s e s

o f MM. Roques, M ichaut, C h e v a i l l i e r and D im off.

In P a ris

I atten ded t n e c o u r s e s g iv e n by MM. P l a t t a r d and M ornet a t th e S orbonne, and t h e c o u r s e s o f MM.Vale'ry and G ils o n a t t h e C o lle g e de F r a n c e . »

My p r e l i m i n a r y e x a m in a tio n s were h e l d i n May, 1958.

My

m a jo r s u b j e c t was F re n c h l i t e r a t u r e and my m ino r s u b j e c t was S p a n is h l i t e r a t u r e .

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

195.

I w ish t o e x p r e s s ray g r a t i t u d e t o t h e l a t e M ile . M a d e le in e S o u b e ira n and to M. G uitoti o f Bryn Mawr C o l l e g e .

I

have i n d i c a t e d ray in d e b t e d n e s s i n c o n n e c tio n w ith t h i s d i s s e r t a t i o n i n th e i n t r o d u c t i o n .

Reproduced with perm ission of the copyright owner. Further reproduction prohibited without permission.