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Marot was dead, but he left numerous followers, some of whom saw in the stricter literary critique of the Pléiade, in its outspoken contempt of merely vernacular and medieval forms, in its strenuous advice to French poetry to " follow the ancients ," and so forth, an insult to the author of the Adolescence Clémentine and his school.
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Marot and was
In June, 1551, he added a few psalms to the French version of the Psalms begun by Clément Marot, which was also very successful.
In France, La Pléiade aimed to break with earlier traditions of French poetry ( especially Marot and the grands rhétoriqueurs ), and, maintaining that French was a worthy language for literary expression, to attempt to ennoble the French language by imitating the Ancients.
Clément Marot ( 23 November 1496 – 12 September 1544 ) was a French poet of the Renaissance period. Clément Marot.
Marot was born at Cahors, the capital of the province of Quercy, some time during the winter of 1496-1497.
His father, Jean Marot ( c. 1463-1523 ), whose more correct name appears to have been des Mares, Marais or Marets, was a Norman from the Caen region and was also a poet.
Marot, like most of Marguerite's literary court, was attracted by her grace, her kindness, and her intellectual accomplishments, but there is no grounds for thinking that they had a romantic relationship.
The king was taken prisoner at the Battle of Pavia, but there are no grounds for supposing that Marot was wounded or shared the king's fate, and he was back in Paris again by the beginning of 1525.
Formidable opposition to both forms of innovation now began to appear, and Marot, never particularly prudent, was arrested on a charge of heresy and lodged in the Grand Châtelet in February 1526.
The following year he was once again in trouble, this time for attempting to rescue a prisoner, and was again released, this time after Marot wrote the king one of his most famous poems, appealing for his release.
Unfortunately, the poet's enemies ensured that Marot was implicated in the 1534 Affair of the Placards, and this time he fled.
Duchess Renée was not able to persuade her husband, Ercole d ' Este, to share her views, and Marot had to leave Ferrara.
Victory, as far as wit was concerned, remained with Marot, but his biographers suggest that a certain amount of ill-will was created against him by the squabble, and that, as in Dolet's case, his subsequent misfortunes were partly the result of his own rashness.
Since he came immediately before the great literary reform of La Pléiade, Marot was both eclipsed and decried by the partakers in that reform.
However, Marot himself was a reformer, who carried his own reform as far as it would go.
Saint-Gelais was the champion of the style marotique ( see Clément Marot ) and the earliest of French sonneteers.
However, he was one of the first to write sonnets in the French language ( preceded by Clément Marot and Mellin de Saint-Gelais ).
Clement Marot praises him, and Ronsard was careful to exempt him with one or two others from the scorn he poured on his immediate predecessors.
Scève was also a well versed musician as well as a poet ; he cared very much for the musical value of the words he used, in this and in his erudition he forms a link between the school of Marot and the Pléiade.
Marot and left
Daniel Marot and Desgotz's Het Loo garden does not dominate the landscape as Louis ' German imitators do, though in his idealized plan ( engraving, left ), Desgotz extends the axis.
Marot and followers
In 1548 appeared the Art poétique of Thomas Sébillet, who enunciated many of the ideas that Ronsard and his followers had at heart, though with essential differences in the point of view, since he held up as models Clément Marot and his disciples.
The violent attacks made by du Bellay on Marot and his followers, and on Sébillet, did not go unanswered.
At first, as has been said, the enmity, not altogether unprovoked, of the friends and followers of Marot fell to his lot, then the still fiercer antagonism of the Huguenot faction, who, happening to possess a poet of great merit in Du Bartas, were able to attack Ronsard in his tenderest point.
Marot and some
Le Ton beau de Marot: In Praise of the Music of Language is a long book devoted to language and translation, especially poetry translation, and one of its leitmotifs is a set of some 88 translations of " Ma Mignonne ", a highly constrained poem by 16th-century French poet Clément Marot.
Jean Marot instructed his son in the fashionable forms of verse-making, which called for some formal training.
His poetry reaches back to the earlier makars, Henryson, Dunbar and Doouglas, but he also translates from Clément Marot and from Ronsard, and some of his work invites comparison with Baroque writers such as Marino, Góngora, Donne and Herbert.
In this respect, the French poets Clément Marot and Mellin de Saint-Gelais are transitional figures: they are credited with some of the first sonnets in French, but their poems continue to employ many of the traditional forms.
For these he set texts by some of the prominent poets of the time, including Clément Marot.
In this respect, the French poets Clément Marot and Mellin de Saint-Gelais are transitional figures: they are credited with some of the first sonnets in French, but their poems continue to employ many of the traditional forms.
Marot and whom
The authors of these praise poems ( not all of whom can be reliably identified ) include Maurice Scève, Pontus de Tyard, Claude de Taillemont, Clement Marot, Olivier de Magny, Jean-Antoine de Baif, Mellin de Saint-Gelais, Antoine du Moulin, and Antoine Fumee.
In a " man of small stature ," whom the Inquisition likewise seized as under suspicion, although he made his escape, is to be recognized not Calvin, but Clément Marot.
Marot and literary
At the same time Marot engaged in a literary quarrel with a lesser poet named Sagon, who represented the reactionary Sorbonne.
The group aimed to break with earlier traditions of French poetry ( especially Marot and the grands rhétoriqueurs ), and, maintaining that French ( like the Tuscan of Petrarch and Dante ) was a worthy language for literary expression, to attempt to ennoble the French language by imitating the Ancients.
Many people with literary fame or Protestant leanings, like John Calvin, Vittoria Colonna and Clément Marot visited the court of the duchess.
Marot and Pléiade
Middle French is the language found in the writings of François Villon, Clément Marot, Rabelais, Montaigne, Ronsard, and the poets of the Pléiade.
Marot and its
Hofstadter's book Le Ton beau de Marot is dedicated to their two children and its dedication reads " To M. & D., living sparks of their Mommy's soul ".
Marot and vernacular
Meanwhile Marguerite de Navarre, the sister of Francis I, herself a poet, novelist and religious mystic, gathered around her and protected a circle of vernacular poets and writers, including Clément Marot, Pierre de Ronsard and François Rabelais.
Marot and forms
Early in 1876, a small body of English poets discovered the French forms of Théodore de Banville, Clement Marot and François Villon, and determined to introduce them into English verse.
Marot and French
* September 10 – Clément Marot, French poet ( b. 1496 )
** Clément Marot, French poet ( d. 1544 )
Musaeus's poem had early translations into European languages by Tasso ( Italian ), Boscán ( Spanish ) and Marot ( French ).
A French speaker hearing the title spoken would be more likely to interpret it as le tombeau de Marot ; where tombeau may mean ‘ tomb ’ ( as per the cover picture ), but also ‘ a work of art ( literature or music ) done in memory and homage to a deceased person ’.
* Site with complete works of Marot, plus many other French poets
* Lyrics of the French Renaissance: Marot, Du Bellay, Ronsard By Norman R. Shapiro-( in French and English )-Google books.
Marot is the first poet who strikes readers of French as being distinctively modern.
The name " Louise " may have been coined by Clément Marot when, in 1542, seeking a French equivalent of Petrarch's praise of " Laura ", he proposed to the Lyonnais circle that they " louer Louise " ( praise Louise ).
Leading French pastoral poets include Marot and Ronsard.
In French, Pierre de Ronsard wrote a series of eclogues under the title Les Bucoliques, and Clément Marot also wrote in the genre.
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