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Lyriques anciens et lyriques modernes à l'aune de la galanterie

Abstract : In the second half of the 17th century, the fashion for gallant expressions of love is related to the high number of translations from the Classical lyric poets ; but are the gallant poets their heirs ? Between Longepierre, translator and admirer of the Classical lyrical poets, whose imitation he recommends, and Fontenelle, who writes the Digression sur les anciens et les modernes to accompany his pastorals, Perrault, who considers gallant poetry to be one of three happy inventions of the Moderns, vigorously rejects a Classical period he considers too simple, coarse even, a period which has not been able to reach true gallantry. Those in favour of the Classical period, and the moderates, first responded with strategies of tracing their ascendancies and working out their alliances ; they did this through procedures aiming to render this poetry more gallant, in what was in effect an adoption of the modern values. They then started to condemn modern gallantry as artificial in comparison with a Classical Age which had known how to paint Nature – a nature perhaps altogether lost, however, for all sides recognise that the times and tastes have changed...
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Claudine Nédelec. Lyriques anciens et lyriques modernes à l'aune de la galanterie. Littératures classiques, Société de littératures classiques (SLC) / différents éditeurs, 2012, La galanterie des Anciens, 1 (77), pp. 319-331. ⟨10.3917/licla.077.0319⟩. ⟨hal-03266777⟩



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