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SEDUCTIVE TOPOGRAPHIES: THE LANGUAGES OF LANDSCAPE IN LA PUCE DE MADAME DES-ROCHES
Romanic Review, May 2004 by Tarte, Kendall
9. Les secondes oeuvres, ed. Anne R. Larsen, Geneva: Droz, 1998, 100.
10. Pantagruel, Chapitre 5.
11. On the rediscovery of Sappho in the Renaissance and the association of Louise Labé with her, see François Rigolot, Louise Labé Lyonnaise ou la Renaissance au féminin (Paris: Champion, 1997), 31-67.
12. "Response de P. le Loyer," 86^sup r^-86^sup v^.
13. "Imitation dv latin de Claude Binet a Estienne Pasqvier," 26^sup r^.
14. "Imitation dv latin de M. Brisson," 11^sup v^.
15. "La Pvce d'Odet de Tovrnebv Advocat en la Cour de Parlement," 31^sup v^.
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16. Several of Du Bartas's "Sonnets des Neuf Muses Pyrénées" personify the mountains (The Works of Guillaume De Salluste Sieur Du Bartas, 3 vols., ed. U.T. Holmes, Jr., J.C. Lyons, and R.W. Linker [Chapel Hill: University of North Carolina Press, 1940; reprint, Geneva: Slatkine, 1977], 3: 482-86).
17. This epithet refers to Mercury's Arcadian birthplace, Mount Mæanalus, and thus sets up the poem's mountainous landscape. see Paul Laumonier's edition of the works of Pierre de Ronsard, whose "Voeu à Mercure" (1571) refers to the god as "Maænalien Mercure" (OEvres complètes, ed. Laumonier, Raymond Lebègue, and Isidore Silver, 20 vols. [Paris: Hachette-Didier-Droz, 1914-67], 15: 366, line I and note 2). Barbara L. Welch analyzes Ronsard's use of Mercury in Ronsard's Mercury: The Arcane Muse (New York: Peter Lang, 1986).
18. "F. de la Covdraye a mes Dames Des Roches," 78^sup v^. This sonnet is from the second part of the anthology. These works are not "flea" poems, but they do focus on the Grands Jours and contemporary Poitiers. see note 4 above.
19. Aeneid 4.238-58.
20. In La Franciade, Ronsard also describes Mercury's flight but concentrates less on the panorama (OEuvres complètes, 16: 44-45, lines 305-28).
21. Art of Love 2.19-98; Metamorphoses 8.183-235. For a survey of the Icarus and Daedalus story, see Niall Rudd, "Daedalus and Icarus (i) From Rome to the end of the Middle Ages" and "Daedalus and Icarus (ii) From the Renaissance to the present day," in Ovid Renewed: Ovidian influences on literature and art from the Middle Ages to the Twentieth Century, ed. Charles Martindale (Cambridge: Cambridge University Press, 1988), 21-53.
22. Art of Love 2.50-64 and 84-92; Metamorphoses 8.203-08 and 225-30.
23. "La Pvce de Macefer," 39".
24. "Aux poetes chante-puce," 44^sup v^.
25. See, for example, Petrarch, Canzoniere 9 (Sonnet "Quando 'l pianeta ehe distingue l'ore," 10).
26. Art of Love 2.75; Metamorphoses 8.224. Lucian attributes a similar pleasure to Menippus, who looks down at the earth-as if at a map-from the moon (Icaromenippus 11).
27. Similarly, in La concorde des deux langages Jean Lemaire de Belges compares Lyon to Troy by naming the French city "ung aultre Ilion." François Rigolot discusses this example and argues that the Rhétoriqueurs' appropriation of classical heritage results from their desire for glory (Poétique et onomastique, 48). For an introduction to the concept of translatio studii in antiquity and the Renaissance, see Marc Bizer, La Poésie au miroir: imitation et conscience de soi dans la poésie latine de la Pléiade (Paris: Champion, 1995), 13-59. On the Muses in the poetry of the Pléiade, see Guy Demerson, La Mythologie classique dans l'oeuvre lyrique de la Pléiade (Geneva: Droz, 1972).
