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21 results

Page 1 of 2

  • From Satura to Satyre: François Rabelais and the Renaissance Appropriation of a Genre*

  • Bernd Renner
  • Journal:
    Renaissance Quarterly / Volume 67 / Issue 2 / Summer 2014
    Published online by Cambridge University Press:
    20 November 2018, pp. 377-424
    Print publication:
    Summer 2014

  • Renaissance satire has long been a neglected field of study, which is most likely due to the difficulty decoding its targets, to its nonliterary utilitarian purpose, and to the menace of invective that always hovers over the satirical metagenre. This study aims at two objectives: to retrace the formal development of early modern satire by showing how the blending of four disparate traditions — Roman satura, Greek satyr play, Menippean satire, and medieval popular theater — created a form that not only dominated the period, but also laid the groundwork for the development of the modern variants of satire. This pivotal moment in the history of satire then gives way to the second objective: a concrete illustration of this theoretical development in the four authentic Pantagrueline chronicles of François Rabelais, an ideal case study that will considerably enhance the understanding of early modern satire in all its implications and intricacies.

  • 1 - Virgil and Marot: Imitation, Satire and Personal Identity

  • from Part I - Pastoral and Georgic Modes
  • Edited by Phillip John Usher, Columbia University, Isabelle Fernbach, Montana State University, Bozeman
  • Book:
    Virgilian Identities in the French Renaissance
    Published by:
    Boydell & Brewer
    Published online:
    05 February 2013
    Print publication:
    19 July 2012, pp 19-38

  • Summary

    The importance of Virgil for Clément Marot is evident from the fact that the first text of his first published collection, the Adolescence Clementine (1532), is a translation of Virgil's first eclogue – also Virgil's earliest published work (c. 39–38 BCE). Marot's obvious intention to draw on the prestige of the Greco-Latin tradition is, of course, in tune with the general aspirations of Renaissance humanists, but the connection is all the more important for a poet at the very beginning of his literary career. Already in this early poem, Marot sought, via his connection to Virgil, to appropriate literary authority and, perhaps even most importantly, to hint at the future glory that an association with Virgil might promise. Many aspects of the relationship between Virgil and Clément Marot have already been studied by critics, such as Marot's translations and imitations of Virgil, their status as royal poets – Marot repeatedly pleaded for patronage and protection as did Virgil –, and their stylistic and poetic similarities (even though Marot is, in many respects, closer to Ovid). In the present article, emphasis is to be placed not on Virgilian intertexts, a topic treated quite convincingly by many other critics, but on the poetic, and more precisely satirical, uses and implications of what Florian Preisig has so aptly named “le jeu Marot/Maro,” i.e. the play on Marot's own name, homophonous with Publius Vergilius Maro. The fact that Preisig talks of a “game” hints at the ludic background of Marot's exploitation of what was, in a first instance, merely a lucky coincidence.

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