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Micheline's Blog

~ Art, music, books, history & current events

Micheline's Blog

Category Archives: Vernacular

Pietro Bembo by Titian, and the Vernacular

27 Wednesday Jan 2016

Posted by michelinewalker in Art, Vernacular

≈ 8 Comments

Tags

Geoffrey Chaucer, Joachim du Bellay, Masterpiece, Pietro Bembo, portraits, Shakespeare, Titian, Vernacular

15bembo

Portrait of Pietro Bembo by Titian, 1540 (WikiArt.org.)

A few posts ago, I listed two old posts as related articles. One was about the Petrarchan Movement, the other, about Joachim du Bellay.

In 1525, Cardinal Pietro Bembo (20 May 1470 – either 11 January or 18 January 1547) wrote Prose della volgar lingua, a text in which he encouraged authors to write in Italian, the vernacular, rather than Latin. The vernacular was Italian as spoken in Florence and Tuscany. For Pietro Bembo, however, it was the Italian used by Francesco Petrarch (20 May 1470 – either 11 January or 18 January 1547), hence the Petrarchan Movement. I also mentioned authors Dante Alighieri (1625 – 1321) and Giovanni Boccaccio (c. 1313- 21 December 1375).

The Madrigal

As for musicians, they too were to set to music texts written in Italian, rather than Latin. In the area of music, Francesco Landini (c. 1325 or 1335 – 2 September 1397) was the first writer of madrigals, a word meaning in one’s mother tongue: madre in Spanish.

France: Du Bellay

A few years later, in 1549, French poet Joachim du Bellay (c. 1522 – 1 January 1560) published his Défense et illustration de la langue française. It became acceptable to write poetry in one’s native language. Du Bellay was a poet, not a composer.

England: Chaucer

As for England, Geoffrey Chaucer (c. 1343 – 25 October 1400), who took the Roman de la Rose to England, he had also advocated the use of English, rather than Latin or French, as a literary language. He translated part of the Roman de la Rose. You may recall that until the end of the Hundred Years’ War, French was spoken at the court of England and Edward VII felt he was a legitimate heir to the throne of France. He wasn’t by virtue of the Salic Law. A woman could not ascend the throne of France. Edward VII’s mother was French. Hence the fratricidal nature of the Hundred Years’ War, a war of succession.

sans-titre

Shakespeare, the Chandos Portrait, sometimes attributed to Titian (Photo credit: Art History Today)

Titian (Tiziano Vecelli or Tiziano Vecellio)

Portrayed about is William Shakespeare (c 26 April 1564 – 23 April 1616) the Chandos Portrait, is sometimes attributed to Titian. (See Art History Today.)

RELATED ARTICLES

  • Art History Today
  • The Hundred Year’s War: its Literary Legacy (24 January 2016)
  • The Petrarchan Movement (6 December 2011)

 

With warm greetings to all of you. ♥ 

Titian
Ennio Morricone (Deborah’s Theme)

Titian%20side%20profile

Self-portrait by Titian
(Photo credit: Wikipedia)

© Micheline Walker
26 January 2016
WordPress

 

 

 

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La Pléiade: Du Bellay

30 Friday Dec 2011

Posted by michelinewalker in Du Bellay, France, Literature, Vernacular

≈ 58 Comments

Tags

Défense et illustration..., Joachim du Bellay, La Pléiade, Les Regrets, Renaissance

 
Joachim du Bellay

Joachim du Bellay (1522 – 1560)

In a post entitled The Renaissance: Galileo & Galilei, I spoke about Count Bardi’s Florentine Camerata, an informal academy, and focussed on Vincenzo Galilei, a scholar, an advocate of the use of equal temperament in music, and Galileo’s father.  I also wrote about Giulio Caccini, a composer who favoured monody, or one voice.

* * *

France: La Pléiade

However, we are now moving to Renaissance France where both formal and informal academies were also founded. The foremost of these academies was the Pléiade[i], an informal 16th-century (the French Renaissance) académie.  It was comprised of seven members: Pierre de Ronsard, Joachim du Bellay, Jean-Antoine de Baïf, Rémy Belleau, Pontus de Tyard, Étienne Jodelle and Jean Dorat, their mentor.  But, with the exception of Antoine de Baïf, members of la Pléiade’s main interest was poetry, which is literature bordering on music.

A Word About Jean Dorat

As I wrote above, Jean Dorat (3 April 1508, in Limoges – 1st November 1588), a brilliant Hellenist, was the mentor among the seven members of the Pléiade.  He had in fact taught at the Collège de Coqueret and four of his pupils had been Pierre de Ronsard, Joachim du Bellay, Pontus de Tyard and Antoine de Baïf, all members of the Pléiade.

Compared to Pierre de Ronsard and Joachim du Bellay, Dorat was the lesser poet.  But his fame as a scholar and Hellenist spread beyond France and, in 1556, he was appointed to the Collège Royal [ii] (French link), founded by Francis I, king of France, in 1530.  An appointment to the Collège Royal remains a French scholar’s highest recognition.

—ooo—

Défense et illustration de la langue française

Défense et illustration de la langue française 

Joachim Du Bellay is the eloquent author of a manifesto in which he advocated the use of French instead of Latin, his Défense & Illustration de la langue française.  Had the Défense & illustration de la langue française been his only work, Du Bellay would occupy a prominent place in the history of French literature.  His sentiments with respect to the French language echoed those of all seven members of the Pléiade, which makes the Défense & illustration de la langue française the group’s manifesto.

I have mentioned Joachim du Bellay in my blog on the Petrarchan Movement. You may remember that, not unlike Du Bellay, Pietro Bembo had encouraged Italian-language composers to set their music to texts by Petrarch, Torquato Tasso, Dante, etc.  In his eyes, Italian had come of age.  In this respect, Pietro Bembo is a precursor to Joachim du Bellay, except that Du Bellay was and remains one of France’s most celebrated poets.

Poetry

Du Bellay’s poetry was influenced by Italian poetry.  He was especially fond of the Petrarchan sonnet and encouraged members of La Pléiade to model their poetry on the works produced in Italian-language lands: sonnets, odes, etc.  His most famous collection of poems, Les Regrets, was written between 1553 and 1557, during a long and unhappy stay in Rome.  In 1553, Joachim had travelled to Rome with his cousin Jean du Bellay, a cardinal and diplomat who was going on a mission to Rome.  The collection, Les Regrets, was published in 1558.

According to the Encyclopædia Britannica, when in Rome, Du Bellay “had started to write on religious themes, but his experience of court life in the Vatican seems to have disillusioned him.”[iii]  He therefore turned to meditative poetry and to the sonnet.  He was home sick.  In fact, Du Bellay so missed his country, “la douceur angevine,” (the softness of Anjou), and his “petit Lyré,” his small castle, that he wrote his celebrated “Heureux qui comme Ulysse a fait un beau voyage,” (click to read poem, in French [Wikipedia]), a sonnet known to every student of French literature.

Earlier, in 1549, Du Bellay had written a collection of 50 sonnets entitled l’Olive.  However, when l’Olive was published by Corrozet et L’Angelier, in 1550, 100 sonnets had been added to the original collection.  During his stay in Rome, he also wrote Les Antiquités de Rome, a collection of 32 sonnets edited in 1558.  And he is  the author of long “consolation” or “déploration” (a eulogy) on the death of his cat Belaud, a chartreux.  “Sur la mort de Belaud” is a beautiful poem in which Du Bellay reveals his exceptional mastery of the French language.

Du Bellay’s health was fragile.  He suffered bouts of deafness and died of apoplexie, a cardio-vascular accident, on 1 January 1660.

So let this blog be a “déploration” or “tombeau” on the premature death, at the age of 37, of Joachim du Bellay.

I wish to thank Wikipedia for including in its entry on Du Bellay, the complete list of his works and the text of Du Bellay’s “Heureux qui comme Ulysse.”  The music (below) is Josquin des Prez‘s Déploration sur la mort d’Ockeghem, a very famous late fifteenth-century piece.

  • Défense et illustration de la langue française (1549)
  • L’Olive (1549)
  • Vers lyriques (1549)
  • Recueil de poesie, presente à tres illustre princesse Madame Marguerite, seur unique du Roy […] (1549)
  • Le Quatriesme livre de l’Eneide, traduict en vers françoys (1552)
  • La Complainte de Didon à Enée, prince d’Ovide (1552)
  • Œuvres de l’invention de l’Auteur (1552)
  • Divers Jeux Rustiques (1558)
  • Les Regrets (1558) dont
  • Les Antiquités de Rome (1558)
  • Poésies latines, (1558)
  • Le Poète courtisan (1559)

Josquin des Prez: Déploration sur la mort de Johannes Ockeghem (just click on title)

 _________________________

[i] “La Pléiade.” Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2011. Web. 30 Dec. 2011.             <http://www.britannica.com/EBchecked/topic/464546/La-Pleiade>.

[ii] Wikipedia

[iii] “Joachim du Bellay.” Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2011. Web. 30 Dec. 2011.             <http://www.britannica.com/EBchecked/topic/59760/Joachim-du-Bellay>.

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The Petrarchan Movement

06 Tuesday Dec 2011

Posted by michelinewalker in Literature, Music, Vernacular

≈ Comments Off on The Petrarchan Movement

Tags

Bembismo, Francesco Landini, Petrarch, Petrarchan Movement, Pietro Bembo, the Vernacular

Pietro_Bembo2

Cardinal Pietro Bembo by Titian (Photo credit: Wiki2.org.)

One of my readers asked about the Petrarchan movement.  So I thought I would answer her question in a short post.

Wikipedia has the necessary information in its entry on Cardinal Pietro Bembo (20 May 1470 – either 11 January or 18 January, 1547).

—ooo—

To put it in a nutshell, Pietro Bembo encouraged musicians to set to music texts written in Italian, rather than Latin.  By then, there were many excellent writers in Italy and, although there were various forms of Italian, Venice-born Bembo liked the Italian spoken in Florence, Tuscany.  Petrarch was a Florentine poet and a friend of Francesco Landini, the first writer of madrigals (madrigal means from mother tongue).  Petrarch was a perfect source.

The same thing happened in France.  In 1549, poet Joachim du Bellay (c. 1522 – 1 January 1560)  published a Défense et illustration de la langue française.  In his eyes, French had come of age.

As for Pietro Bembo, in 1525, he wrote Prose della volgar lingua (Discussions of the Vernacular [language spoken by the people] Language), in which he advocated the use of Italian.

Bembo had other theories, including one regarding the link between speech and the emotions (the affekte, in German).

There is a type face called “Bembo.”  Pietro Bembo so liked to imitate Petrarch that imitation of Petrarch became known as bembismo.

Bembo was a scholar and very persuasive.

Francesco Landini  — Madrigal

 

Francesco Landini — Ecco la primavera

Landini playing a portative organ(illustration from the 15th-century Squarcialupi Codex)

© Micheline Walker
6 December 2011
WordPress

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