Ronsard’s Hymnes : a literary and iconographical study by Philip Ford
By Philip Ford
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Extra info for Ronsard’s Hymnes : a literary and iconographical study
By the Italian painters who had was only one element of artistic creation affected by Neo-Platonism, and the second division of rhetoric, dispositio, with its inherent idea of order and harmony, would also be strongly tinged with Neo-Platonic tones in the Renaissance. Inventio, however, Dispositio DispositiOy the structuring or orderly arrangement of a work of art, can be seen to function on two levels. On one level, we are concerned with the structure of an individual work of art: a poem, a painting, for example.
Barocchi, Tratatti d'arte del cinquecento, vol. 3 (Bari: Laterza, 1962). The Theoretical Background wisdom, piety, etc. Finally, there is also 31 no lack of the more ab- struse, apparently shocking allegory associated with inspired poetry, including a number of portrayals of the adultery of Mars and Venus. We shall largely concentrate on these last two types of art in this study. Both were allegorical traditions at work in the visual arts and poetry before Ronsard began work on his own compositions.
This feature of Ronsard's writing calls into question the distinc- tion between the apparently linear nature of reading poetry, as con- with the non-linear nature of reading a painting. ^"* In the case of a short poem, a sonnet perhaps, be that the linear approach even this is it the most obvious one, though open to question. Let us consider one of the sonnets from the 1554 Bocage, L. VI. 52-53. ) de sa feinte inutile Le feu qu'amour me vient de son aile sutile Tout alentour du coeur, sans repos, eventer: 8 Sur le haut de mon lit en voeu je t'apendrai, Devot, un saint tableau, sur lequel je peindrai L'heur que j'aurai regeu de ta forme douteuse.