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DEDICATION
INTRODUCTION
ABBREVIATIONS
CHAPTER I ANCIENT GREEK MUSIC : « THE SONG IS QUEEN »
I. Mουσιϰή
II. The Power of Music for Good and Evil
III. The Primacy of the Word
IV. The Speaking Dance
V. Music and Paideia
VI. Music, Ethos, and Mimesis
VII. Music and the State
VIII. Music, the Cosmos, and the Soul
CHAPTER II THE LIMITS OF KNOWLEDGE AND UNDERSTANDING OF GREEK MUSIC AND POETRY
I. Vagueness of Traditions and Mobility of Instrumentation in Greek Poetry for the Lyre and Flute
II. Inadequacy of the Available Evidence
III. Insufficiency of our Silent Postulates
CHAPTER III « LA LIRE AUJOURDUI RESUSCITÉE EN ITALIE »
I. Greek Influence on Humanist Musical Theory in the Italian Renaissance
II. Marsilio Ficino
III. Baldassare Castiglione
IV. Nicola Vicentino
V. Gioseffo Zarlino
CHAPTER IV THE MARRIAGE OF POETRY AND MUSIC IN FRANCE : RONSARD’S PREDECESSORS AND CONTEMPORARIES
I. Trouvères and Troubadours
II. From Adam de la Halle to Jean Molinet
III. Jean Lemaire de Belges
IV. Maurice Scève
V. Clément Marot
VI. Mellin de Saint-Gelais
VII. Thomas Sebillet
VIII. Pontus de Tyard
IX. Joachim du Bellay
CHAPTER V RONSARD AND MUSIC
I. His Love of Music
II. Was Ronsard a Trained Musician and Singer ?
III. Ronsard and the Lute
IV. Ronsard and the « Lyre »
V. Ronsard and the Guitar
VI. The Lyre — Reality or Metaphor ?
VII. Lyre, Lute, Guitar, and Harp : The Interchangeability of Instrument Names
VIII. No Solution of Musical Continuity Between Marot and Ronsard
IX. « Timbres »
X. Ronsard’s Knowledge of the Technical Terminology of Greek Music
XI. Greek and Renaissance Concepts of Harmony
CHAPTER VI RONSARD ON THE MARRIAGE OF POETRY, MUSIC, AND THE DANCE
I. The Illusory Convergence of National and Hellenic Musical Traditions
II. « La Poesie & la Musique seurs »
III. « Lire dorée que la dance oit »
CHAPTER VII RONSARD ON THE MARRIAGE OF POETRY, MUSIC, AND THE DANCE : APOLLO-RONSARD AND THE DANCING MUSES
I. The Apollonian Metaphor
II. The Temple of Apollo-Ronsard
III. Ad majorem Apollinis gloriam
CHAPTER VIII RONSARD ON THE MARRIAGE OF POETRY, MUSIC, AND THE DANCE : THE AMBIVALENT GOD OF THE DITHYRAMB — RAGING DIONYSUS, A JOY UNTO MORTALS
I. The Dithyramb : « Le bon Bacchus », « Very God Most Terrible »
II. A Writer’s Frolic : The Dithyrambes à la pompe du bouc de Jodelle
III. The Meaning of dithyrambos
IV. Evolution of the Dithyramb in Greece
V. Fragmentary Survival of the Ancient Dithyramb
VI. Tragedy Marvelously Transmuted to Hilarity : The Bacchae and the Bacchanales
VII. The Dithyramb : Meter, Music, and Dance
VIII. « Bacchus, Amour, les Muses, Apollon »
IX. Dionysus Transfigured : Zeus Dionysus
CHAPTER IX GREEK MUSICAL IDEALS REFLECTED IN THE POETRY OF RONSARD
I. The Primacy of the Word as Substance
II. Poetry, Music, Education, ἀϱετή, the Divine
III. Chiron, or Music and the Education of Princes in ἀϱετί
IV. Poetry, Music, and Ethos : An Identity of Essence
V. Music, Politics, and « le changement des grandes republicques »
VI. The Cosmic Harmonies
VII. The Dance of the Stars
VIII. The Prime Mover or Divine Choragus
IX. The Courses of Intelligence in the Heaven and the Revolutions of our Souls
CHAPTER X THE FIRST PINDARIC POET IN THE FRENCH LANGUAGE
I. Ronsard’s Dominant Concern to Establish the Priority of his Literary, Lexical, and Humanistic Initiatives
II. Ronsard’s Approach to Pindar and the Greek Lyric Poets by way of Horace
III. The Italian Predecessors : Trissino, Lampridio, Alamanni
IV. Dorat, Ronsard, and the Pindaric Ode
V. Ronsard’s Independence of the Latin Translation of Pindar by Lonicerus and of an Alleged French Translation by Dorat
VI.
CHAPTER XI THE PINDARIC ORIENTATION OF RONSARD’S THEORY OF LYRIC POETRY : THE FORMAL ASPECTS
I. Ancient and Modern Lyric
II. The External Structure of the Ode
III. The Immanent Structure of the Ode
IV. Style and the Pindaric Manner : Ronsard’s Neo-Pindarisms
V. Style and the Pindaric Manner : Ronsard’s Methods of Adapting Sources
VI. Pindaric Enjambement
VII. The Preludes
VIII. « Admirables inconstances », « vagabondes digressions » : Poetic Movement in Pindar and Ronsard
IX. Novelty
X. Brevity and the Law of Song
CHAPTER XII THE « HIRELING MUSE » : COMMISSIONED POETRY THE CONFLICT BETWEEN VENALITY AND PROBITY (I)
I. Patrons and Fees
II. Poetic Contracts
III. « Phoenician Merchandise »
IV. « Strive not to be a Zeus… Mortal aims befit mortal men »
V. « Le trafiqueur des Muses »
VI. The Hymne de l’Or and a Chanson for Marie l’Angevine
CHAPTER XIII THE « HIRELING MUSE » : COMMISSIONED POETRY THE CONFLICT BETWEEN VENALITY AND PROBITY (II)
I. Henri II « Pensez vous estre Dieu… »
II. Charles Cardinal de Lorraine
III. Odet Cardinal de Chastillon
CHAPTER XIV THE « HIRELING MUSE » : COMMISSIONED POETRY THE CONFLICT BETWEEN VENALITY AND PROBITY (III)
I. Catherine de Médicis
II. Charles IX
CHAPTER XV THE « HIRELING MUSE » : COMMISSIONED POETRY THE CONFLICT BETWEEN VENALITY AND PROBITY (IV)
I. Ronsard and the Accession of Henri III « Un Dieu doit heriter à l’empire d’un Dieu »
II. The Hyperbolic Praise of Henri’s Military Prowess
III. The King of Poland
IV. Le Discours au Roy : The Counsellor Ignored « Telle peste perdit Alexandre se disant Dieu »
V. Estreines au Roy
VI. Panegyrique de la Renommée
VII. Elegie au Roy : « A genoux ! à genoux ! »
VIII. Ronsard’s Reflections on « le naturel »
IX. Apostasy to the Muses and the State of Grace
X. The Meaning of the Epitaphs of the Derniers Vers « Détourna d’Helicon les Muses en la France » « Méprisant faveurs & tresors »
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Ronsard and the Hellenic Renaissance in …
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Travaux d’Humanisme et Renaissance
CLXXXII
Ronsard and the Hellenic Renaissance in France
By ISIDORE SILVER, Rosa May Distinguished University Professor, Emeritus, in the Humanities Washington University in St. Louis
Tome II. RONSARD AND THE GRECIAN LYRE
Golden lyre, truest possession of Apollo
LIBRAIRIE DROZ S.A.
11, rue Massot
GENÈVE
1981
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