There too he probably met Jacques Peletier du Mans, who had published a translation of the Ars Poetica of Horace, with a preface in which much of the program advocated later by La Pléiade is to be found in outline.

He is not as great a poet as François Villon nor as some of his successors of the Pléiade, but he is much less antiquated than Villon and not as elaborately artificial as the Pléiade poets.

Antoine Adam's popular collection of Malherbe's Poésies, is based on his Pléiade edition, ( 1982 ).

The metre ( the decasyllable ) the king chose could not but contrast unfavourably with the magnificent alexandrines that Du Bartas and Agrippa d ' Aubigné were shortly to produce ; the general plan is feebly classical, and the very language has little or nothing of that racy mixture of scholarliness and love of natural beauty which distinguishes the best work of the Pléiade.

As a poet Pasquier is chiefly interesting as a minor member of the Pléiade movement.

The use of the term " Pléiade " to refer to the group the French poets around Ronsard and Du Bellay is much criticized.

* " La Pléiade ", or more correctly " La Bibliothèque de la Pléiade ", is also the name of a prestigious leather-bound Bible-paper collection of works in French ( literature, history, etc.

* Grand officer in the Order of the Pléiade ( Ordre de la Francophonie et du dialogue des cultures ; that is, " Order of the Francophonie and of the dialogue of cultures ")

Middle French is the language found in the writings of François Villon, Clément Marot, Rabelais, Montaigne, Ronsard, and the poets of the Pléiade.

Schiffrin is the son of Jacques Schiffrin, a Russian Jew who emigrated to France and briefly enjoyed success there as publisher of the Bibliothèque de la Pléiade, which he founded, and which was bought by Gallimard, until he was dismissed on account of the anti-Jewish laws enforced by the Vichy regime.

Around Ronsard, Du Bellay and Jean Antoine de Baïf there formed a group of radical young noble poets of the court ( generally known today as La Pléiade, although use of this term is debated ).

In these Régnier is a disciple of Pierre Ronsard ( whom he defended brilliantly against Malherbe ), without the occasional pedantry, the affectation or the undue fluency of the La Pléiade ; but in the satires he seems to have had no master except the ancients, for some of them were written before the publication of the satires of Vauquelin de la Fresnaye, and the Tragiques of Agrippa d ' Aubigné did not appear until 1616.

In the meanwhile Passerat had studied law, and had composed much agreeable poetry in the Pléiade style, the best pieces being his short ode Du Premier jour de mai and the villanelle whose first line is J ' ay perdu ma tourterelle.

Around Ronsard, Du Bellay and Jean Antoine de Baïf there formed a group of radical young noble poets of the court ( generally known today as La Pléiade, although use of this term is debated ).

Cover scan from the novels of Charles Ferdinand Ramuz ( Bibliothèque de la Pléiade ), personal scan, claiming fair use ( does not detract from original work, scanned from legal copy, image is of sufficiently low resolution ).

The Bibliothèque de la Pléiade is a French series of books which was created in the 1930s by Jacques Schiffrin, an independent young editor.

The longest volume in the Pléiade is Les Mille et Une Nuits I, II et III, at 3504 pages.

The " entry into the Pléiade " is considered a major sign of recognition for an author in France, and it is extremely rare that a living author is published in the Pléiade ( examples are Jean-Paul Sartre, Nathalie Sarraute, Julien Green, Julien Gracq, Milan Kundera ...) In 2008, the works of Claude Lévi-Strauss were published in the collection.

The name " Pléiade " was also adopted in 1323 by a group of fourteen poets ( seven men and seven women ) in Toulouse.

The name " Pléiade " was adopted in 1323 by a group of fourteen poets ( seven men and seven women ) in Toulouse and is used as well to refer to the group of poets around Pierre de Ronsard and Joachim du Bellay in France in the 16th century ( see " La Pléiade ").

Jean Daurat ( or Joan Dorat in Occitan ) ( Latin, Auratus ) ( 3 April 1508 – 1 November 1588 ) was a French poet, scholar, and a member of a group known as The Pléiade.

The core group of the French Renaissance " Pléiade "— Pierre de Ronsard, Joachim du Bellay and Jean-Antoine de Baïf — were young French poets who met at the Collège de Coqueret, where they studied under the famous Hellenist and Latinist scholar Jean Dorat ; they were generally called the " Brigade " at the time.

A later development of the chanson was the style of musique mesurée, as exemplified in the work of Claude Le Jeune: in this type of chanson, based on developments by the group of poets known as the Pléiade under Jean-Antoine de Baïf, the musical rhythm exactly matched the stress accents of the verse, in an attempt to capture some of the rhetorical effect of music in Ancient Greece ( a coincident, and apparently unrelated movement in Italy at the same time was known as the Florentine Camerata ).

As a student, he became friends with the young poets Jean de La Péruse, Étienne Jodelle, Jean de La Taille and Pierre de Ronsard and the latter incorporated Remy into the " La Pléiade ", a group of revolutionary young poets.

* February 19 – Jean-Antoine de Baïf, French poet and member of the Pléiade ( d. 1589 )

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.

Joachim du Bellay (; c. 1522 – 1 January 1560 ) was a French poet, critic, and a member of the Pléiade.

The famous manifesto of the Pléiade, the Défense et illustration de la langue française ( Defense and Illustration of the French Language, 1549 ), was at once a complement and a refutation of Sébillet's treatise.

The critical and restraining tendency of Malherbe who preached greater technical perfection, and especially greater simplicity and purity in vocabulary and versification, was a sober correction to the luxuriant importation and innovation of Pierre de Ronsard and La Pléiade, but the lines of praise by Nicolas Boileau-Despréaux beginning Enfin Malherbe vint (" Finally Malherbe arrived ") are rendered only partially applicable by Boileau's ignorance of older French poetry.

The institution he chose for the purpose among the numerous schools and colleges of Paris was the Collège Coqueret, the principal of which was Jean Daurat — afterwards the " dark star " ( as he has been called from his silence in French ) of the Pléiade, and already an acquaintance of Ronsard's from having held the office of tutor in the Baïf household.

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.

After Malherbe, the rising glory of Corneille and his contemporaries obscured the tentative and unequal work of the Pléiade, which was, moreover, directly attacked by Boileau himself, the dictator of French criticism in the last half of the 17th century.

Pontus de Tyard ( c. 1521 – September 23, 1605 ) was a French poet and priest, a member of " La Pléiade ".

Established as the academic language, French became the object of a political effort at normalization ; La Pléiade posited the view that when two languages of the same language family coexist, each can be defined only in opposition to the other.

He was widely known as the French Horace, and his works had a great influence on vernacular poetry, especially the Pléiade.

Jean Antoine de Baïf ( 19 February 1532 – 19 September 1589 ) was a French poet and member of the Pléiade.

* Bibliothèque de la Pléiade (" Pléiade editions "), the standard editions of major works of ( mostly ) French literature, published by Éditions Gallimard

* Jean Daurat ( or Dorat ) ( Latin, Auratus ), ( 1508-1588 ), French poet and scholar, member of the Pléiade

The metre fell into disuse until the reign of Francis I, when it was revived by Jean-Antoine de Baïf, one of the seven poets known as La Pléiade.

They increased their number to seven by the initiation of the dramatist Étienne Jodelle, and thereupon they named themselves La Pléiade, in emulation of the seven Greek poets of Alexandria.

* Pierre de Ronsard, Joachim du Bellay and other poets of " La Pléiade "-poems

Among the models favoured by the Pléiade were Pindar, Anacreon, Alcaeus and other poets of the Greek Anthology, as well as Virgil, Horace and Ovid.

In a poem in 1556 Ronsard announced that the " Brigade " had become the " Pléiade ", but apparently no one in Ronsard's literary circle used the expression to refer to himself, and use of the term stems principally from Huguenot poets critical of Ronsard's pretensions ( Ronsard was a polemicist for the royal Catholic policy ).

In 1547 he produced a funeral oration for Henry VIII of England and published his first poems " Œuvres poétiques ", which included translations from the first two cantos of Homer's Odyssey and the first book of Virgil's Georgics, twelve Petrarchian sonnets, three Horacian odes and a Martial-like epigram ; this poetry collection also included the first published poems of Joachim Du Bellay and Pierre de Ronsard ( Ronsard would include Jacques Peletier into his list of revolutionary contemporary poets " La Pléiade ").

* in France, Parnassian poets and La Pléiade

The Pléiade poems of the natural world ( fields and streams ) were continued in the first half of the century — but the tone was often elegiac or melancholy ( an " ode to solitude "), and the natural world presented was sometimes the seacoast or some other rugged environment — by poets who have been tagged by later critics with the " baroque " label ( notably Théophile de Viau and Antoine Gérard de Saint-Amant ).

From the late 1540s on, many of the " rhétoriqueurs " were rejected by the French circle of poets around Pierre de Ronsard ( sometimes called La Pléiade ) who considered them representatives of an outdated medieval tradition.