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Ronsard, Petrarch, And The Amours,Used
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An engaging and provocative study of how Ronsard has written not merely like Petrarch but quite literally as Petrarch, assuming the persona of the great Italian master while appropriating and manipulating his story.'JoAnn DellaNeva, University of Notre DameThis comparative study focuses on the shaping influence of Italys greatest Renaissance poet, Francesco Petrarca, on the lyric collections of Frances most celebrated Renaissance poet, Pierre de Ronsard. By helping to define the nature of Ronsards particular response to Petrarch, Sara SturmMaddox revises the history of French Renaissance 'Petrarchism.'Unlike previous works, which compared individual poems by these authors in terms of source and imitation, this study traces the larger lines of Ronsards engagement with the underlying 'story' and evolving selfportrait of the Petrarchan lyric protagonist. SturmMaddox argues that Ronsards imitative strategy in three of his lyric collectionsthe Amours of 155253, the Sonets pour Helene, and the small sequence 'Sur la mort de Marie' added to the Second Livre des Amours in 1578draws upon what she terms lyric impersonation, giving singular prominence to the relation between the textual Ronsard and the textual Petrarch as protagonists.In this first booklength exploration of the presence of Petrarch in Ronsards Amours, SturmMaddox draws upon her extensive previous work in the French and Italian lyric, including two books examining intertextual strategies in Petrarchs Rime sparse. Her study cites the French and Italian poems under discussion in both the original and translation, thus facilitating further comparative examination. Many of the poems by Ronsard appear here in English for the first time.Sara SturmMaddox, professor of French and Italian at the University of Massachusetts, Amherst, is the author or editor of eleven books, including Petrarchs Laurels, Petrarchs Metamorphoses, and, with coeditor Donald Maddox, Froissart Across the Genres (UPF, 1998).
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