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VIRGIL AND RONSARD 
 
 BY 
 
 WALTER HENRY STORER 
 
 A. B. University of Illinois, 1919 
 A. M. University of Illinois, 1920 
 
 THESIS 
 
 SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS 
 FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN 
 ROMANCE LANGUAGES IN THE GRADUATE 
 SCHOOL OF THE UNIVERSITY 
 OF ILLINOIS, 1922 
 
 URBANA, ILLINOIS 
 
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St't 
 
 UNIVERSITY OF ILLINOIS 
 
 THE GRADUATE SCHOOL 
 
 May SS .192 . 2 
 
 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY 
 ON BY Walter Henry Storer 
 
 , VIRGIL AND RONSARD 
 
 BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR 
 I HE DEGREE QF-^oe tor Of PLil 0 30ph y 
 
 Head of Department 
 
 Recommendation concurred in* 
 
 
 Committee 
 
 on 
 
 Final Examination* 
 
 Required for doctor’s degree but not for master's 
 
Digitized by the Internet Archive 
 
 in 2015 
 
 https://archive.org/details/virgilronsardOOstor 
 
CONTENTS 
 
 Page 
 
 Foreword II 
 
 Part I. Virgil's Place in the Life of Ronsard 1 
 
 A. Ronsard' s Knowledge of Virgil 2 
 
 B. Ronsard' s Desire to Imitate Virgil 6 
 
 Part II. Imitation 26 
 
 A. Poems Published before or during the year 1550 27 
 
 B. Odes Published after 1550 49 
 
 C. Amours . Elegies . Booages . Poemes . Discours . 
 
 Eoitaohes . Hvnnes . Traductions en Vers 57 
 
 D. The E clogues 80 
 
 E. The Franoia de 93 
 
 F. Reminiscences 97 
 
 (I) Classical Allusions 98 
 
 (II) Phases of Love 105 
 
 (ill) The Muses and the Writing of Poetry 108 
 
 (IV) Time and Seasons 109 
 
 (V) Omens and Predictions Ill 
 
 (VI) The Golden Age 112 
 
 (VII) Other Pastoral Ideas and Expressions 113 
 
 (VIII) Figures 115 
 
 (IX) Miscellan sous 119 
 
 Part III . Conclusion 125 
 
 Bibliography 139 
 
 Vita 144 
 
FOREWORD 
 
 The 1919 edition of Roneard’s works by M. Paul Laumonier 
 has been used for the Ronsard texts, because it is at present the 
 best complete edition. The modern letters, however, are used for 
 &, i - consonant, and other peculiarities of sixteenth century 
 printing. At times reference is also given to the older but less 
 scholarly edition of Prosper Blancheraain. 
 
 For the sake of brevity the following abbreviations have 
 been deemed advisable: 
 
 Aen . . the Aeneid of Virgil. 
 
 Bl., Blanchemain’ s edition of Ronsard’ s works. 
 
 Ec. . the Eclogues of Virgil. 
 
 Geor . . the Georgies of Virgil. 
 
 Lau., Laumonier’ 8 edition of Ronsard ’s works. 
 
 Rev , de la Ren . , Revue de la Renaissance . 
 
 Rev . d’Hist . litt . , Revue de 1 ’histoire litt^raire de la 
 
 France . 
 
 I wish to express ray thanks to the members of the Depart- 
 ments of Romance Languages and of the Classics at the University of 
 Illinois for the instruction I have received from them. In particu- 
 lar ray thanks are due Professor Kenneth McKenzie and Professor David 
 H. Carnahan for their suggestions in regard to the subject of this 
 dissertation and for their kind assistance in the preparation of the 
 work. I have also received much assistance from the librarian of the 
 Modern Language Seminar, Miss Amelia Krieg. 
 
PART I 
 
 1 . 
 
 VIRGIL'S PLACE IN THE LIFE OF RONSARD 
 
 As late as 1694 ]^ile Faguet makes the statement that 
 Ronsard did not imitate Virgil to any extent except in the 
 Franc iade and in a description of Orpheus in the Bocage royal 
 More recent investigation, however, has shown this idea to be 
 incorrect. M. Paul Laumonier, the great Ronsardist scholar of 
 today, has pointed out many Virgilian passages in his edition of 
 1914-1919 of the complete works of Ronsard, and M. Pierre de 
 Nolhac in his latest work pronounces Virgil the chief Latin master 
 of Ronsard.^ In 1887 Paul Lange discussed very carefully the re- 
 lationehip of the Franc lade ajid the Aeneid . but no one has as yet 
 
 ^Etudes litteralres - Seizieme Siecle p. 239: ^"Virgile n’est pas | 
 le podte que Ronsard imite le plus. 6 n peut meme dire qu'en de- i 
 hors de la Franc iade . et d* Qrphee (dans le Bocage roval) . il i 
 
 1' imite peu. A peine on trouverait 9 a et Ik quelques courts I 
 
 souvenirs ; mais ces traces sont assez rares." j 
 
 I 
 
 %onsard et 1 * human! sme . p. 37: "Parmi ses maltres latins, Vir- 
 
 gile tient une place k part, la plus haute, cells du 'premier ' 
 
 capltaine des Muses', comme il se plaira a I'appeler. II I'a su | 
 par coeur dhe son enfance, il I'a pratique touts sa vie et^au | 
 
 moment ou s'est ebauch4 le plan de la Franc iade , ce sont 'les 
 Aeneides' qu'il a choisies pour ses modeles." 
 
 ^ t)ber Ronsarts Franc iade und ihr Verbal tn is zu Vergils Aneide . 
 
 ffurzen, 1887. Gandar * s Ronsard consider^ comme imitateur 
 d* Homer e et de Pindare (Metz, 1854) also touches upon this point. 
 
 As early as 1553 Marc Antoine de Muret wrote a commentary on an 
 edition of the Amour s . He was followed by Remy Belleau in 1560, 
 Nicolas Richelet in several works, and Pierre de Maroassus in 
 1823, but none of these, except the last (Cf. Lau.VII,312) is im- 
 portant in a study of Ronsard and Virgil. After 1630 very little 
 attention was paid to Ronsard until the time of Sainte-Beuve. 
 
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 made a complete study of all the points of likeness in the 
 authors of these two epics. It has, therefore, seemed to the 
 writer of the present essay that such a study would have a cer- 
 tain value. 
 
 RONSARD'S KNOWLEDGE OF VIRGIL 
 
 It is probable that Ronsard's first knowledge of Virgil 
 came from his father or uncle both of whom were scholars. The 
 former was a poet and admirer of Virgil;^ the uncle, Jean de 
 Ronsard® seems to have been the tutor®, mentioned by Ronsard's 
 
 7 
 
 biographer, Binet, who began to instruct his nephew when the lat- 
 ter was but five or six years old. He naturally taught Pierre 
 the indispensable Latin and very probably started him to study 
 
 ^Cf. Laumonier in Revue de la Renaissance . 1901, Vol.I, p. 102. 
 
 ®In his funeral oration for Ronsard (Paris, 1584, fol.l2), Jac- 
 ques Velliard speaks of the influence of the uncle and of his 
 library, which was bequeathed to Ronsard. Of. Nolhac, Ronsard 
 et 1 'humanisms . p. 11. 
 
 g 
 
 In his edition of the Vie de Ronsard . p.70, Laumonier suggests 
 Guy Peccate as the tutor, but Longnon's argument in his Pierre 
 de Ronsard . p. 127, note 1^ in favor of Jean do Ronsard seems 
 stronger, because the year (1535) of Jean's death coincides with 
 Ronsard's tenth year. 
 
 *^Binet says that the tutor was kept until Ronsard was nine (Ed. 
 of Lau., pp. 4-5) . The original text of Binet 's Vie de Ronsard 
 appeared in 1586. Two augmented editions were published during 
 Binet 's lifetime in 1587 and 1597. 
 
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3 . 
 
 Virgil^. When he was nine, the poet attended the college of 
 Navarre and without doubt gained some knov/ledge of Virgil there. 
 
 At any rate we have his own words as proof that he not only read 
 Virgil at an early age, taut knew him by heart: 
 
 "II ne faut s ' esmerveiller, si j'estime Virgile plus ex- 
 cellent et plus rond, plus serr6, et plus parfaict que tous les 
 autres, soit que des ma jjeunesse mon Regent me le lieoit a 
 I’escole, soit que depuie je me sois fait une Id4e de see concep- 
 tions en mon esprit (portant tous jours son livre en la main) ou 
 soit que I’ayant appris par coeur des mon enfance, je ne le 
 
 o 
 
 puisse outalier." 
 
 stay 
 
 Soon after his a in the college Ronsard^in 1536 became 
 a page of the Dauphin Francois, and when this prince suddenly 
 died he entered the service of Charles, Duke of Orleans, the -third 
 son of the king. The next year he went to Scotland as page to 
 Madeleine of France, who had married the Scottish king. He re- 
 mained there for over two years, and on his return to France re- 
 entered the service of the Duke of Orleans. It was sometime dur- 
 ing this period that he became associated with the all-important 
 
 0 
 
 Cf. Laumonier in the Revue de la Renaissance . 1901, Vol, I, p. 
 170:^ "Tout ce qu'on peut dire,^c*est qu'en allant a neuf ans au 
 College de Navarre, il aurait du savoir assez de latin pour 
 traduire Virgile comme les camarades de son age (oe qui n'avait j 
 rien de prodigieux pour I’epoque)." 
 
 ®Lau., VII, 83, preface of the Franciade of 1587, which, althos^ it 
 appeared after his death may be considered his own, as Binet ^ed. 
 of Lau.,p. 50) explains: "II nous a laisse un Discours en prose 
 sur le Poeme Heroique, assez mal en ordre (addition de 1597: pour 
 1 'avoir dicte a quelque ignorant qui escrivoit souhz luy, qu'il 
 m'envoya)^ et que j'ay rerais a peu pres selon son intention." 
 
 Cf. Lau., VIII, 134. Ronsard elsewhere recommends the ’Memoriza- 
 tion of "bonspoetes" as far as possible( Lau., VII, 46). 
 
 
 
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4 
 
 Seigneur Paul,^^ mentioned by Binet and Colletet^^ in their bio- 
 graphies and by Du Perron^^ and Velliard^^ in the funeral ora- ' 
 
 tions delivered at the services held at Boncourt in honor of the 
 poet several months after his death. Seigneur Paul was the man j 
 who inspired in Ronsard his first pronounced love of literature 
 in general and of Virgil and Horace in particular; 
 
 I 
 
 "Et ce qui luy augmenta ce desir fuu un Gentil-homme 
 Piemontois nomme le seigneur Paul, frere de Madame Philippes, qui 
 
 fut mere de Madame de Chastelleraut , lequel avoit este page avec 
 Ronsard, et ne laissoit de banter I'Escurie du Roy, qui estoit 
 lore une escole de tous honnestes et vertueux exercises, comma 
 aussi faisoit Ronsard, or que tous deux fussent sortis de page. 
 Ce Gentil-homme avoit fort bien estudie les Poetes Latins, et 
 
 ^^There has been much discussion as to the identity of "Seigneur 
 Paul", and the exact time that he became acquainted with Ronsard. 
 Nolhac (op. Pit . ,p .9) thinks that he was Claudio Ouchi, but it is 
 rather the time of his acquaintance with Ronsard that is important 
 to this discussion. It is practically certain that he lived with 
 Ronsard at the Escurie of Francis I both before and after the 
 journey to Scotland and very probably accompanied him on that 
 journey. Cf, Lau. , Rev.de la Ren . 1901, p. 186, Note; Nolhac, p.9, 
 Ronsard himself says only "des mon enfance j'ai tousjours estime 
 1‘estude des bonnes lettres." Lau-, VII, 4. 
 
 ^^Guillaume Colletet (1598-1659), vdio wrote the lives of many of 
 the early French poets. 
 
 ^^Cardinal Jacques Davy Du Perron (1556-1618) . The text of his 
 oration may bo found in B1.,VIII, 179 ff. 
 
 ^3jacques Volliard, P. Ronsardi .... laudatio funebris ; Paris, 
 Buon, 1586. Seigneur Paul is described fol. 12; "Cum studia 
 humanitatis coleret et haberet aures tritas notandis generibus 
 poetarum, seorexam Virgilii et Horatii intelligentia praestabat." 
 
5 . 
 
 mosmes, lore qu'il estoit page, avolt ausei souvent un Virgile 
 en la main qu’une baguette, interpretant aucunefois a Ronsard 
 
 _ , 14 
 
 quelques beaux traits de oe grand Poete,".... 
 
 I 
 
 "Or ce fut la (in Scotland) premiereraent qu'il commenca 
 a prendre goust a la poesie. Gar un gentil-homme escossois, 
 nomme le seigneur Paul, tres-bon poete latin, se plaisoit a luy 
 lire tous les jours quelque chose de Virgile ou d 'Horace, le luy 
 interpretant en francois, ou en escossois; et luy, qui avoit ' 
 
 desja jette lesjyeux sur les rymes de nos anciens autheurs, s'effor-' 
 coit do le mettre en vers le mieux qu'il luy estoit possible. 
 
 In 1540 Ronsard made journeys to Flanders, Zeeland, Scot- | 
 land and Germany for the Duke of Orleans. It was after the jour- 
 ney to Germany that his sudden deafness made him desirous of giv- 
 ing up court life and of devoting himself entirely to study and 
 writing. However, ho spent the years 1540-1543 partly at court 
 and partly on his father's estate, la Possoniere. At the latter 
 place he could enjoy the nature he so greatly loved and could 
 wander in the woods and along the banks of streams dreaming of be- 
 coming a Virgil or a Horace. Without doubt the Loir and the 
 Braye became the Mincius and the Anio to him and awakened his 
 poetic fancies. Soon after the death of his father (1544), who 
 had opposed his desires to become a poet, because a poet's profes— 
 
 14 
 
 Ed. of Lau., pp. 9-10, of Binet's Vie de Ronsard . In the 1587 
 edition Binet adds, "il prit si prand appetit que depuis il no fut 
 jamais sans un Virgile, jusques a I'aprendre enticrement par coeur 
 
 15du Perron, Bl., VIII, 186-187. 
 
 Lau., JLQunesse de Ronsard in Rev .de la Ren.. Vol.II. 1902 . 
 
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 17 
 
 Sion was not lucrative enough, Ronsard went to study with Balf 
 under the famous Dorat. In 1547, when Dorat became professor at 
 the College de Coqueret, Ronsard and Balf accompanied him to the 
 school and there they were joined by Du Bellay. Althou^ Dorat 
 was primarily a Hellenist, he also admired Virgil and Horace, and 
 his students^ knowledge of these two authors was furthered along 
 with that of Homer and Pindar. Virgil especially received atten- 
 tion since he is such an admirable example of imitation from 
 Creek models. 
 
 Under the inspiration of Dorat 's classic instruction and 
 assisted by Ronsard, Du Bel lay published in 1549 his famous 
 " Defense et Illustration de la langue franco iee” , which is an 
 appeal to imitate the ancients in French. 
 
 RONSARD 'S DESIRE TO IMITATE VIRGIL 
 Ronsard’ 8 desire to imitate Virgil, of course, dates 
 long before the publication of the doctrine of his school. He 
 may have dreamed of writing a French Aeneid whenjas a page^he 
 atudied Virgil with Seigneur Paul. Certainly after his meeting 
 with Jacques Peletier^® in 1543 such a desire must have been ex- 
 
 Antoine de Balf was the son of the ambassador, Lazar e de Balf, 
 whom Ronsard had known from the age of sixteen and whose scholarly 
 attainments were influential in the formation of Ronsard’ s mind, 
 
 ^^Jacques Peletier (1517-1583) was influential in causing Ronsard 
 to abandon entirely his efforts at Latin poetry, and encouraged 
 him in the study of Greek. He himself might have been the leader 
 of the Pleiade if he had not been such a devoted scholar. He is 
 generally considered as having become a member of the Pleiade 
 about 1555, the date of hie Art poetique franyois . 
 
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7 . 
 
 pressed. In 1545 appeared Peletier's translation of Horace's Ar_s 
 poetica . which contains so many of the ideas of the Defense and 
 also sets forth rules for the much desired epic. Peletier was an 
 admirer of Virgil and doubtless influenced Ronsard in his desire to 
 imitate him. 
 
 But to return to the Defense , poets are therein urged to 
 
 imitate Virgil: "Chante moy d'une musette bien resonante et d'une 
 
 fluste bien jointe ces plaisantes eglogues rustiques^a I'exemple de 
 
 Theocrite et de Virgile Que pleust aux Muses, qu'en toutes les 
 
 especes de poesies que j'ay nommees nous eussions beaucoup de 
 
 telles imitations, qu'est ceste eglogue sur la naissance du fils de 
 
 monseigneur le Dauphin, a _mon gre \in des meilleurs petits ouvrages 
 
 1. 9 
 
 que fit oncques Marot." 
 
 This eclogue of Marot is an imitation of the fourth eclogue 
 
 of Virgil. Furthermore the expression"fluste bien joints" is Vir- 
 
 gilian corresponding to "fistula cera iunota fuit" ,III, 25. 
 
 Elsewhere in the Defense there are several passages Virgilian in tone 
 
 "volent .... par les bouches dee horames"^^ and "voler par les mains 
 
 et bouches des hommes"^^ are remimscences of Geor . . Ill, 9. The 
 
 idea of the sentence: "Les uns aiment les fraisches ombres des 
 
 forets, les clairs ruisselets douoement murmurans parmy les pres 
 
 22 
 
 orne* et tapissez de verdure" is taken from Geor . .II . 485-489. A 
 brief eulogy of France in the last chapter of the second book recall 
 Virgil ' sjfamous praise of Italy: "Je ne parleray ici de la teraperie 
 
 de I'air^ fertilite de la terre, abondance de tous genres de fruiots 
 
 ^®Louis Humbert's ed. of the Defense , p. 87. 
 
 SOibid., p, 69. 
 
 21lbid.,p. 84. 
 
 23Ibid.,p. 105. 
 

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necesBaires pour I'aise et entretien de la vie humaine, et autres 
 
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 For the figure of Antonomasia Virgil ian examples are given: 
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 2 
 
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 si 
 
 "CertaimnentA nous avions des Mecenes et des Augustes, les cieux...ne 
 sont point si ennemie de nostre sieole^ que n'eussions encore des 
 Virgiles,"26 In all, the name Virgil, who is mentioned "volontiers 
 
 ^3 ibid . 111-112. Of. Gfiar.,II, 136-176. 
 
 ^^ Ibid . , p.103. The references to Virgil are: Geor., Ill , 360; I, 
 231-233; Aen .. IV, 700-702; VIII, 287 ff. 
 
 ^S lbid . . p. 94, Aen . . I, 254; III, 354. 
 
 26itid. , p, 90, This line may come from Martial's "Sint Maecenates, 
 non deerunt, Flacce, Marones". 
 
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 1 ?;. 
 
9 
 
 et par honneur"^'^, appears no lees than twenty times in the mani- 
 festo of the Pleiads. 
 
 Turning to Ronsard's own prose works on the subject of 
 
 poetry we find many points where Tirgil is held up as a model. In 
 , .. 28 
 
 the Abbrege de 1 *Art poetioue fran 90 is it is suggested that a 
 poet of a great work will show himself to be religious if he begins 
 his poem by naming Deity or some one who represents a phase of His 
 majesty, such as "Musa, mihi causas memora " ( Aen . , I, 8). "Elocu- 
 tion" is defined as the choice of words which V^irgil and Horace so 
 carefully observed, Virgil and Horace are also characterized as 
 close observers of the rule that epithets should be sought which 
 mean something, not those which merely fill out a verse. The line 
 "Centre Mezance AEn6‘ bransla sa pique" (Cf. Aen . . X, 783) is given 
 as an example of the proper way to omit a feminine e. in the middle 
 of a verse. 29 in the 1572 preface of the Franc iad e Homer and Virgil 
 are praised for deviating from history in their epics_>and an apology 
 is offered for making the description of the kings in the Franciade 
 longer than Virgil’s account of the Roman rulers,^ 
 
 27lbid. , p.56. On page 35 of his Sources Italiennes de Du Bel lav 
 Villey states that the constant recurrence of the names Homer, De- 
 mosthenes, Virgil, and Cicero is due to imitation of the Italians 
 Speroni and Berabi, but this fact does not prevent the members of the 
 Pleiade from being voluntary admirers of these fo\ir great ancients. 
 There would have been no imitation of the Italians if the ancients 
 had not been highly esteemed on their own account. 
 
 3s 
 
 First published in 1565, All of Ronsard's prose works are to be 
 found in the seventh volume of Laumonier's edition. 
 
 22Lau.,VII, 45-46, 51, 53, and 56. 
 
 ^Lau., VII, 66 and 67. 
 
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 The 1587 preface^^ of the Franc iade . which expounds Ron- 
 
 sard's rules for an epic poem, fairly abounds in references to the 
 
 Aeneid . The description of Chloreus, the priest of Cybele (Aen. , 
 
 XI, 768-777), the catalogue of the Latin warriors ( Aen . Vli, 623- 
 
 817) the quarrel of Juno and Venus ( Aen. . X, 15-95), the cajoling 
 
 of Vulcan by Venus ( Aen . . VIII, 387-453), larbas' indignant prayer 
 
 to Jupiter ( Aen . . IV, 206-218), the lament of Euryalus' mother 
 
 ( Aen . . IX, 481-497), the boasting of Numanus (Aen. , IX, 595-620), 
 
 the wrath of Hercules slaying Cacus (Aen., VIII, 219-267), and the 
 
 lament of Meaentius over the body of his dead son ( Aen . , X, 846-856) 
 
 are cited as examples of ornate verse. "Relisant telles belles con- 
 
 32 
 
 ceptions, tu n'auras cheveu en teste qui ne se dresse d' admiration? 
 
 The basic idea of the epic, says Ronsard, Should be some in- 
 cident taken from old annals which has gained credit ^like the tradi- 
 tion of Aeneas' voyage used by Virgil. Paraphrases are recommended 
 for all good poets, since Virgil in describing day or night uses 
 "belles circonlocutions**( Aen. . IV, 6-7 and 522-525). For spring also 
 Virgil has a beautiful couplet ( Geor ., I, 43-44), for ploughing he 
 writes "vertere terram" (Gsfls. I, 1-2), for spinning "tolerare vitam 
 colo tenuique Minerva" ( Aen . . VIII, 409), for bread "Dona laboratae 
 Cereris" ( Aen . , VIII, 181) and for wina, Bacchus ( Geor . . II, 143). 
 
 Wise choice must be exercised in such phrases, but Virgilian expres- 
 
 'Z'Z 
 
 sions for storms and tempests must not be forgotten. 
 
 ^^See note 9. 
 
 32Lau., VII, 76-77 
 33Lau., VII, 84, 77, 78. 
 

 
 
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11 . 
 
 ”Quant aux Gapitaines et conducteurs d'armees et soldats, i 
 tu an diras las pares et las meres, ayeux, villas, et habillements^ ! 
 et leurs nalssances,et feras une fable la dessus, s' 11 en est besoln, 
 comrae" Aen. , IV, 198 j VII, 761-763; I5f, 545-547; and VIII, 460. The 
 minds of the characters are to be assured by signs, oracles, or gods i 
 disguised as human beings as in Aen., VII, 81-3; I, 393; II, 682-683; 
 and IJC, 646-648. Enjambement is commendable since it is found in 
 Greek and Roman authors, as in Aen . . I, 2-3. From Homer and Virgil 
 Ronsard also learns that hiatus is not improper, as "sub II io alto" 
 and "lonio in magno" ( Aen. . V, 261 and III, 211). Gifts should be 
 presented by one leader to another and embellished in description, 
 as in Aen . . VII , 275-283 and V, 349-250. The death of a prominent 
 warrior calls for his epitaph and mention of his services in a half 
 line or line like Aen . . VI, 166. Prayers and sacrifices should be 
 given due space in accordance with Homer and Virgil. In the com- 
 position and structure of verses, follow Virgil who is past master in 
 
 booK 
 
 that art and note the effect of the closing lines of the eighth ^of 
 the Aeneid (ll. 689-690). Neither should "lumieres" nor "petites 
 ames de la Poesie", such as Aen . XII, 360; X, 396, 600, 782 , be overlook' 
 
 ed.34 
 
 34 
 
 Lau.,VlI, 85-86, 87, 88-89, 90, 93. Ronsard explains his frequent 
 quotations of Virgil as follows (lbld.^87): "Je m'asseure que les 
 envieux caqueteront, dequoy j'allegue Virgile plus souvent qu'Homere 
 qui estoit son maistre, et son patron: mais jo I'ay fait tout expresj 
 
 spachant bien que no& Franpois ont plus de cognoissanoe de Virgile, 
 que d'Homero et d'autres Autheurs Grecs." He himself is undoubted- 
 ly to be included in "nos Franpois" in spite of his great esteem and 
 exceptional knowledge of Homer. 
 
iii ioriovo er/ , ocr ? . . C^ jOOf, ,1IX . aoi4U , ”6Xd»0'i JsX efc' ; 
 
 \ 
 
 
 
 i ^ :-ial i:,I:5r-tc .6® ^08 tQf:-68 ^llv^.■*.<l 
 
 j i^T,- : . ©woXicl 4s Xiai;? lb | 
 
 4 rJiS T' U* v,p 
 1,-9 Cl ?iJ03 
 
 ; -ljbec?cV.)ijfu; ai *uH ".lo&'iC axyt-'f^x.-A ki^'i3U£i't Je 
 
 ; ijfi^ -■4ae93f!& ^ -,01,. wxii "io t nt to aoa" ax o? ’{I 
 
 ’tocbo^ ^10 fi^ijelwoci isoK® 
 
12 . 
 
 But even Virgil is not always above reproadi, for in Aen . , 
 
 V, 46-48 he shows that the action of his epic covers more than a 
 yeair, the period which is the limit of all epics according to the 
 sixteenth century rula. And, then, neither poet nor historian sbo\ilc 
 belie historical facts, as Virgil does in permitting Aeneas and Dido 
 to be contemporaries, alth«j)lj;he Latin poet is to be excused on the 
 grounds that he was seeking to please Augustus and the Roman con- 
 querors of Carthage by suggesting Dido's imprecations against Aeneas 
 
 35 
 
 as the beginning of the hatred of the Romans and Carthaginians. 
 
 There are, of ODurse, numerous other directions for epic 
 
 poets which are based upon both Virgil and Homer, but which are not 
 
 substantiated by direct references to either of the great ancients. 
 
 The task of the poet is to begin in. mediae res and, then, by events, 
 
 speeches, dreams, prophecies, paintings on the wall or engravings on 
 
 to 
 
 armor, words of dying men, and omens^^carry the tale to a close which 
 is artistically bound to the beginning. The argument should at 
 times be reinforced with ancient myths and at times axiomatic state- 
 ments should be interwoven in the text. The gods should converse 
 with men and the warriors give harangues. The poet should be a 
 
 philosopher, anatomist, and lawyer, but for the basis of his plot he 
 
 36 
 
 should follow not the historical truth, but the possible and likely. 
 
 It is also in this preface that Virgil is exalted above all 
 other Latin poets: "Au rests, les autres Poetes Latins ne sont que 
 
 naquets de ce brave Virgile, premier CapKaine des Muses, non pas 
 Horace mesmes, si ce n'est en quelques-unes de see Odes, ny Catulle, 
 
 35Lau., VII, 79 and 81-82. 
 
 36Lau., VII, 79-81. In this last statement Ronsard slightly contra- 
 dlcts his criticism of Virgil's historical accuracy. 
 
¥ 
 
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 I 
 
Tibulle, et Proper ce, encore qu'lle soient tres-excellents en leur | 
 
 meatier: si ce n'est Catulle en son Athis, et aux Nopces de Peleus: 
 
 le reste ne vaut la chandelle." The majesty of the Virgilian style 
 
 is twice mentioned, and the Aeneid . which neither crawls on the 
 
 37 
 
 ground nor climbs too high^ is called divine. 
 
 The preface, therefore, shows Virgil regarded as a highly 
 respected model at the close of Honsard's life, but the desire to 
 write an heroic poem, which wish had been present as his greatest 
 ambition from early youth, inevitably testifies that Ronsard both 
 
 i 
 
 had Virgil before his ^es and desired to imitate him throughout his 
 life.^® This ever present desire is really much more important than 
 the Franoiade itself, especially when, after the publication of the | 
 Defense , Ronsard became generally proclaimed as the poet who would 
 exalt the French tongue by writing an epic in it. It cannot be de- 
 finitely determined when the desire originated, but what must have 
 been the genesis of his poem corresponds very closely to hie sup- 
 positions^ expressed in both the 1573 and 1587 prefaces of the Francl - 
 
 ade . of the conceptive idea for the Aeneid : "Virgile lisant 
 
 en Homere, qu'ASnee ne devoit mourir a la guerre Troyenne, et qua sa 
 posterite releveroit le nom Phrygian, et voyant que les vieilles 
 Annales de son temps portoyent qu 'AEnee avoit fonde la ville d'Alba, 
 ou depuis fut Rome, pour gaigner la bonne grace des Cesars, qui se 
 vantoyent estre sortis d'lule fils d 'AEnee, conceut ceste divine 
 
 ^'^Lau.,VII, 82-83. 
 
 38After Ronsard' s study of Greek under Dorat began, Homer was probably 
 more highly regarded for a time than Virgil, but since the idea and 
 plan of the Franoiade are Virgilian rather than Homeric in spite of 
 Ronsard' s statement to the contrary (Lau.VII, 68), it is clear that 
 Virgil was never lost sight of by Ronsard. 
 
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 AEneide qu'aveq toute revarenoe nous tenons an cores aujourd'huy i 
 
 39 
 
 antra las mains." ! 
 
 For the conception of Ronsard's poem we might write: "Ron- , 
 sard reading in Homer and Virgil that Hector’s son, Astyanax, had 
 been killed by the Greeks, but wishing to have a hero like Aeneas 
 whose posterity would again exalt the Phrygian name and seeing that 
 the old annals declared that the Tro;jan Francus had founded the city 
 of Sicambre and later that of Paris, in order to gain the favor of 
 the French royal house which boasted of having sprung from Francus, 
 son of Hector, conceived the Franc iade after explaining that Hector's 
 son, Astyanax, auid Francus were the same person and had not died in 
 the Trojan war." 
 
 The tradition of Francus' founding of the French nation 
 
 after having previously established a city on the Danube had long 
 
 existed and had been treated by early sixteenth century writers who 
 
 40 
 
 had found it in the old national chronicles. The appearance in 
 1510-11 of the letter of Jean d'Authon to Louis XII, purporting to 
 be from Hector of Troy, and Of the answer written by Jean le Maire 
 for the king acknowledging his relationship to Hector, had spread the 
 idea of the Trojan origin throu^ the court. In the third book of 
 his Illustrations de Gaule (1512) Jean le Maire, who was one of Ron- 
 sard's favorite authors when in his youth he deigned to read his 
 French predecessors, further accredited the legend. Jean Bouchat's 
 
 39Lau., V/II, 69. 
 
 The belief is accredited by Sidonius Apollonarius^ Gregory of Tours, 
 Fredegarius, Wace, Benoit de Sainte-Maure, Vincent de Beauvais, the 
 Chrpniques of Tongres, the Chronicue ^ la France by Robert Gaguin anc 
 many others. 
 
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 f 
 
 
15 . 
 
 A nciennes et modernes genealogies des Roys de France (1527) had 
 
 also discussed the tradition"^^ and in the last stanza of his first 
 
 Pindaric h 3 rmn Aiamanni calls Francis I "la sainte descendance de 
 
 Troye." The last point in the analogy of the conceptions of the ! 
 
 two epics is undoubtedly true, as it is attested to by Ronsard him- 
 42 
 
 self: Ronsard wrote in order to please the French monarchs, who 
 
 were as flattered as Augustus to be considered descendants of the 
 Trojans. 
 
 That this Virgilian conception of his epic poem and the 
 consequent desire to imitate Virgil were continually present in his 
 thought may be seen by the numerous references to the Franciade | 
 throughout Ronsard' s poems. The idea of the epic in all probability! 
 dates from about 1542 soon after the memorization of Virgilf^ tut 
 it cannot be shown to be much earlier than 1545, because only six 
 of Ronsard 's poems were published before 1550. A sonnet mentioning 
 the meeting of Ronsard and Cassandre, which took place in April, 
 
 1545 refers to the Franciade: 
 
 41 
 
 Guillaume Cretin also speaks of it in his Chroniaue francoise. i 
 1515-1525. I 
 
 ^Lau., VII, 69 in the preface of 1572: "Ayant done une extresme 
 envie d' honorer la maison de France, et par sur tout la Roy Charles I 
 
 neufiesme mon Prince, " | 
 
 1 
 
 ^^Cf. Chamard in Rev , de 1 'h. 1 . . Vol. VI, p. 33; "Dans la societe i 
 du seigneur Paul, il s”^tait pris d'admiration pour les deux poetes 
 souverains de I'antiquite romaine. C'est peut-etre alors, - en 
 cet age des grandes pensees et des fieres ambitions, - que s'eveilla 
 dans son esprit I'idee premiere de tailler un jour une 6pop6e sur 
 le patron de 1 ' Eneide . " 
 
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16 . 
 
 "Ja desja Mars ma trompe avoit choisie, 
 Et dans mes vers ja Franous devisoit: 
 
 Ja d’une horreur Gaule estoit saisie^ 
 
 Et sous le fer ja Sene tre-luisoit, 
 
 Et ja Francus a Paris conduisoit .. 
 
 Le nom Troyen et I'honneur de I'Asie:” 
 
 In the Virgil ian Hymne de France (1549) one of the six poems pub- 
 lished before 1550 there is an allusion to Jupiter’s favoring the 
 Frenchman as the "enfant d'Hector". There are references in the 
 odes, many of which were written before 1550 J in the Ode a Bou.iu 
 An .1 evin (1550): 
 
 "Et mon ame n’est ravie 
 Que d’une bruslante envie 
 D’oser un labeur tenter 
 Pour mon Prince contenter, 
 
 and in the Ode a Oa-lliope (1550): 
 
 "Je veux sonner le sang Hectorean""^® 
 
 But the Ode de la Paix (April, 1550) is even more important, for in 
 it the first plan for the epic is set forth in the prophecy of 
 Cassandre to Francus^ much of which has a Virgil ian flavor: 
 
 "Pres des levres de I'eau Pontide: 
 
 C'est la c’est Ik c’est oil tu dois 
 Pour quelque temps donner tes lois: 
 
 C’est ou 1 'arrest des Dieux t'ottroye 
 Fonder encore une autre Troye, 
 
 Resuscitant par ton moyen 
 L'honneur des tiens et leur proesse, 
 
 Ayant vange dessus la Grece 
 L' outrage fait au sang Troyen. 
 
 ^"^Lau., I, 34; Bl., I, 43. 
 
 ^^Lau., II, 157; Bl . , II, 106. The reference to the Hymne de France 
 is in Lau., VI, 83; Bl., V, 386. 
 
 4.R 
 
 Lau., II, 187; Bl., II, 136. For another early allusion to the 
 Franc jade . see Lau., VII, 345. 
 

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 Apres le cours de quelque annee, 
 L'ire de Ceres foroenee 
 Pour devot n 'avoir satisfait 
 A ses honneurs, toute mutine 
 Te contraindra par la famine 
 De quitter ton mur imparfait. 
 
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 Ains que bastir aux bords de Seine 
 Les murs d'une villa hautaine 
 
 De pleurs la tombe il honora, 
 
 Et de beaux jeux la decora. 
 
 Par joustes esprouvant I'adresse 
 De la Phrygienne jeunesse." 
 
 The Ode a Michele d'Hospltal (1553) contains an appeal to 
 the Muses for ability to sing "Francion" and the "tige Troyen"^®. 
 
 The Ode a Claude de Ligneri (1552) speaks of the "Franciade com- 
 menc6e". The Harangue du Due de Guise (1553) and the Elegie en 
 form e d' Epitaphs d* A , Chasteigner mention the coming of the Trojan 
 Francus to France. It is clear from the Elegie a Cassandre 
 (1554) and the Ode a Monsieur d* Angoulesm e (Jan., 1555)^^ that the 
 king Henry II, commanded Ronsard to begin his poem in 1554, but the 
 poet refused to start work until he should be given more benefices, 
 and began to write odes, sonnets and chansons again, as is sho’wn 
 
 CO 
 
 in the ode Nagueres chanter ,1e voulois (1555) , in which Francus is 
 
 ^■^Lau., II, 81-83; Bl., II, 27,38. Cf. Aen • . IS ff. 140, ff; 
 
 I, 5; V, 545, ff. 
 
 48Lau., II, 137, 147; Bl., II, 87, 97. 
 
 '^^Lau. , II, 419; Bl., II, 338. The Lau. edition has ”avano4e”, a 
 later reading. 
 
 SOLau., V, 34, 278; Bl., VI, 33; VII, 207. 
 
 51 Lau., I, 110, II 257; Bl., I, 134; II, 197. The latter poem is en- 
 titled a Monseigneur le Due d'Alencon in Lau. 
 
 52Lau., ff, 344-5; Bl . , II, 273^ — 
 
J 
 
18 . 
 
 bidden farewell. At the time of the appearance of the edition of 
 
 the Quatre premiers livres des Odes (1555), the state of affairs 
 53 
 
 was the same, but Virgil ian ideas are to be found in the plan sug- 
 
 54 
 
 gested for the Franoiade : 
 
 "Presques \in an entier contre eux il batailla, 
 
 Et mills fois en proye a la mort se bailla. 
 
 Taut il^eut de peine, ains que Francus en France 
 Semast de tes ayeux la premiere naissance.'lSS 
 
 In the Epistre a Charles Cardinal de Lorraine (1556) the 
 author, still displeased at the king’s failure to give him aid, as- 
 serts that 
 
 "Virgile n'eust jamais si bravement chante 
 Sans les biens de Cesar^^o 
 
 Early in IbbS^*^ Ronsard offered to undertake the poem again, but 
 abandoned it altogether when the king paid no attention to his pleas 
 for assistajice. 
 
 It was not until the end of 1566 that the Franc iade was re- 
 
 I^Lau., II, 76; Bl., 
 „Lau., II, 331-236; 
 56Lau.; n; 234; BI* 
 
 56Lau., VI, 293; Bl ! 
 found in Lau., IV, 
 
 II, 21. 
 
 Bl., II, 172-177. 
 
 , II, 174i ct. 
 
 , VI, 287. Another 1555 reference is to be 
 197; Bl., V, 77. 
 
 57 
 
 Lau., VI, 305; Bl., V, 302. Six other sonnets in the Nouvelle con- 
 tinuation des amours (1556) (Lau., VI, 304, 305, 306; II, 11, 12, 
 13; Bl., V, 303, 309, 317, 326, 329, 330) make appeals to various 
 courtiers for assistance. A sonnet to d'Avanson (1558) (Lau., II, 
 16; Bl., V, 335) shows the poet's discouragement. Cf. also Lau., 
 
 V, 148 and 153. The third elegy for Genevre, published first in 
 1571, but probably written in 1562 shortly afuer the other two 
 elegies for Genevre (Lau., IV, 111; Bl., IV, 310) mentions Francus, 
 but the Complainte a la Heine Mere (1563 Lau., Ill, 294; Bl., Ill, 
 377) and the Epistre preface of the NouvelleB Poesies (1564. Lau., 
 VII, 28; Bl . , VII, 138) testify to the entire abandonment of the 
 work. 
 
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 oommencad xmder the encouragement of Charles IX^® with the command 
 
 that this second attempt should be written in decasyllabics in- 
 
 cq 
 
 stead of Alexandrine. In 1567 two fragments of the new decasyla- 
 bic version appeared in the second edition of Denys Lambin' s 
 Oeuvres d'Horace (Paris, Mace, 1567) in the second volume, pp. 359- 
 361. The first of these fragments, sixteen lines long is embodied 
 with variations in the beginning of the Franoiade ; but the second 
 of 104 verses, the prophecy of Cassandre concerning Francus' for- 
 tunes was sacrificed by Ronsard aind cannot be found in any of his 
 
 60 
 
 editions of the epic. They help to show that much of Ronsard' s 
 time from 1566 until 1572 was spent in writing and rewriting the 
 first four books which finally appeared shortly after the massacre 
 of St. Bartholomew's Day 1572?^ There is also in the Precellence 
 de la langue fran^oise (1579) by Henri Estienne a quotation in. 
 Alexandrine supposedly from the Franoiade . If it is authentic, 
 as is very probably the case, it may have been written either dur- 
 
 ®®See the poem addressed to Charles (Lau. , III, 236; B1 . , III, 317), 
 published in 1567, but written at the time of Charles' visit to 
 Ronsard 's priory of Saint-Cosme the end of November, 1565. 
 
 ^'’Cf . the insertation in the second edition of the Abbrege de 1 'art 
 poetiQue (1567. Lau., VII, 59; B1.,VII, 330-331). 
 
 ®^Cf. the article by Lauraonier in the Rev , du Seizieme Siecle .1916. 
 pp. 121-2, 136-9. 
 
 61 / . 
 
 Binet ted. of Lau., p. 25) says that Ronsard had written the plan 
 of fourteen books by the time of his death. Colie tet corroborates 
 Binet for twelve of the books. ( Ibid . .158) . 
 
 62 
 
 Ed. of Louis Humbert, pp. 207-209. Cf. also Laumonier in the 
 Rev , du Seizieme Siecle . 1916, pp. 124, 139-140, 
 
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20 . 1 
 
 1 
 
 ing the first period of Ronsard's work on his epic, or between 
 1574 and 1579 that is to say, between the death of Charles IX, who | 
 objected to Alexandrine, and the date of the publication of Estien- i 
 
 ne's work.®^ In either event it constitutes further proof not only j 
 
 1 
 
 of continual labor on the Franc iade jbut of the desire to imitate | 
 Virgil as well, for the quotation is a French version of the com- 
 parison of the gleam of Pyrrhus' armor to the brightness of a 
 snake's new skin in spring, taken from Aen . . II, 469-475, 
 
 After the publication of the first edition Ronsard occupied 
 himself at tines in altering the poem for the editions of 1574, 
 
 1578, 1584, and up to the time of his death, for that of 1587, In 
 addition, references may be found to Francus in works of 1567, 1572, 
 and 1584,®^ From this survey it may be seen that Ronsard's mind was 
 never long removed from Francus and his efforts to lead his Trojans 
 on their fateful journey to France, 
 
 The respect for and use of Virgil by Ronsard's associates 
 also contributed to his desire to imitate him. Peletier translated 
 the first book of the Georgies in 1547, besides writing four Virgi- 
 lian odes on the seasons; Du Bellay the fourth book of the Aeneid in 
 1552, a fragment of the fifth in 1553, the sixth in 1560 and the 
 More turn in 1558. The entire Aeneid was translated by Louis des 
 Masures from 1547 to 1560. In regard to his reading of Masures' 
 translation Ronsard remarks: 
 
 63 
 
 The fragment more likely belongs to the latter fariod both because 
 of the date of the Preoellenoe and of Binet's statement (ed.of 
 Lau.,21): "il n'en fit rien voir durant son regne"(the reign of 
 
 Henry II, 1547-1559). 
 
 ®^Lau., VI, 420, 425-428; V, 257; II, 460. 
 
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21. 
 
 ”Et sans barbs et barbu j 'ay releu tes escrits, 
 Qui engardent qu 'Enee en la France ne meure."°® 
 
 Remy Belleau imitated Virgil in his eclogues and Balf did likewise 
 in his Premier des m^t^ores (1567). One of Jodella's first trage- I 
 dies was Dldon se sacri f i ant . 
 
 Ronsard's own esteem for Virgil is evidenced in passages 
 occurting throughout his poems: 
 
 "AhJ que me plaist ce vers Virgil ian, 
 
 OCi le vieillard pere Co rye ian 
 Avec sa marre en travaillant cultive 
 A tour de bras aa terre non-oisive, 
 
 Et vers le soir sans acheter si oher 
 Vin en taverns, ou chair chez le boucher, 
 
 Alloit chargeant sa table de viandes, 
 
 Qui luy sembloient plus douces et friandes 
 Avec la faim, que celles des Seigneurs 
 Pleines de pompe et de msts et d'honneurs, 
 
 Qui desdaigneux, de cent viandes changent 
 
 Sans aucun goust, car sans goust ils lee mangent . '!ltl569)°° 
 
 "Mon Dieu! que de douceur, que d'aise et de plaisir 
 L'ame re 9 oit alors qu'elle se sent saisir 
 Et du geste et du son, et de la voix ensemble 
 Que ton Ferabosco sur trois lyres assemble, 
 
 Quand les trois Apollons chantant divinement, 
 
 Et mariant la lyre a la voix doucement. 
 
 Tout d'un coup de la voix et de la main agile 
 Refont mourir Didon par les vers de Vergile, " (1559)°' 
 
 "Puis resveille ma guiterre je touche, 
 
 Et m'adossant centre une vieille souche, 
 
 Je dy les vers que Tityre chantoit 
 Quand pres d’ Auguste encores il n’estoit, 
 
 Et qu'il pleuroit au Mantouan rivage, 
 
 Desja barbu son desert heritagell (1554) °° 
 
 He is prone to compare himself to Virgil, the king to 
 Augustus, and one of several prominent courtiers to Maecenas: 
 
 ||Lau.,II, 30. 
 
 ^Lau. , V, 79-80. Of. Geor . . IV, 125-146. 
 
 67 
 
 Lau. , IV, 240-241. Ferabosco was a court musician and singer. 
 
 Tityrus stands for Virgil, as in 
 in the ninth Eologue^aSfe® Menalque, who represents Virgil 
 
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23 
 
 "Ainsl le grand Auguste escrivoit a Virgile: ^ 
 
 Virgile qui 1' esprit de son maistre suivoit, 
 
 Pour luy donner plaisir luy contre-rescrivoitr (l575)°® I 
 
 I 
 
 "Mon Odet .... i 
 
 qui moins envers moy ne te montres humain, 
 
 Que feist envers Maro ce Mecenas Romaini’(l555)'70 
 
 "S’il est vray que je chante aussi bien que Tityrel* (1560)’^^ | 
 After death he will take a place beside Virgil and Homer: i 
 
 "Entre Homere et Virgile, ainsi qu'un demi-Dieu, 
 
 Environn6 d’esprits j'ay ma place au milieu ,*'(1560 ) *^2 
 
 He deems himself as capable as Virgil to bring about immortality 
 
 by his verses: 
 
 "N'as-tu ouy parler d'Enee, 
 
 D’Achil, d'Ajax, d’Idomenee? 
 
 A moy semblables artisans 
 
 Ont immortalize leur gloire, " (1550) 
 
 "Et le fils de Cesar se servoit de Virgiler (1578)74 
 
 In the following there are allusions to verses of Virgil: 
 
 "En nul endroit, comme a chants. Virgile, 
 
 La foy n'est seure" . . . . (l552)^° 
 
 69Lau.,III, 180. The date, as the others indicated after quotations 
 is that of first publication, for the verses were written before 
 1574, the date of (3iarles IX* s death. 
 
 70 
 
 Lau., VI, 258. Ronsard‘s benefactors are very often compared tc 
 Maecenas; Cf. Lau., II, 308; IV, 244, 246; V, 51, 145, 150, 157; 
 VI, 259, 262, etc. The bounty of Augustus himself to Virgil is 
 mentioned in Lau., II, 183. 
 
 "^^Lau.,!!!, 434; from Eglogue IV. The words are addressed by Perrot 
 (Ronsard) to Bellot (Du Bellay) . 
 
 ?2Lau., V, 365. 
 
 73Lau., II, 166, 
 
 74Lau., II, 2. 
 
 '^Lau., I, 91. Cf. Aen . . IV, 373. 
 

24. 
 
 "Ox si a Vargile on veut croire. 
 
 On n'acquiert pas petite gloire 
 A traiter bien un oeuvre bae:"(l554) 
 
 " aux bords de Sicile 
 
 Enee en de corant son pare de tournois, 
 
 Feit sauter les Troyens au branla du hamois, 
 
 Ou les jeunes enfans en cent inille manieres 
 Meslerent les replis de leurs courses guerr ieres.’’'^'?' 
 
 Towards the end of his life he still respected Virgil and 
 grieved to see him misunderstood by the poets of the new generation: 
 
 ”Homere de science et de nom illustre, 
 
 Et le Remain Virgile assez nous ont monstre 
 Comment, et par quel art, et par quelle pratique 
 
 II falloit composer un ouvrage Heroique, 
 
 J’ai suyvi leur patron: a genous. Franc iade. 
 
 Adore I’AEneide, adore 1‘ Iliade:" (l587)'o 
 
 "Homere, qui servit aux neuf Muses de guide, 
 
 S'il voyoit aujourd’huy son vaillant Eacide, 
 
 Ne la cognoistroit plus, ny le docte Maron 
 Son Phrygien En^e:" (1587)^® 
 
 " leur (des poetes) ame est si tres affamee. 
 
 Qua si Virgile esclairoit a leurs yeux, q 
 
 II leur seroit je m‘asseure ennuyeux. . . . " (1587)°^ 
 
 '^^Lau., VI, 219, Cf. Geor. . IV, 6-7. 
 
 7gLau., Ill, 506,7. Cf. A^. , V, 545 ff. 
 
 Lau,, VI, 1 
 
 
 ■^^Lau., VI, 24. 
 
 80 
 
 Lau., VI, 63. Virgil is also mentioned in the poems in Lau., Ill, 
 315; Vi, 441, 458; and VII, 377, and under the name "autheur 
 Aenien" in II, 183. He is also referred to as tha"auteur de la 
 belle Aeneide” in Lau., VIII, 71; and in V, 421 it is probably 
 Virgil who is meant by "celuy qui fist direl Les Chansons des 
 Gregeois a sa Romaine lyre." It must be admitted, however, that 
 there are surprisingly few allusions to Virgil's characters. Home 
 and the characters of the Iliad and Odyssey are mentioned far more 
 frequently, but the use of Homeric characters may be partially due 
 to modelling after Virgil, who continually refers to them in the 
 Aeneid. Ronsard in speaking of heroes of epics says that they 
 should be already well known and cites Virgil as one who followed 
 this plan, '^Comme Virgile ^sur la commune renommee, qu'un certain 
 Troyen nomme Aenee, chante par Homere, est venu aux bors Laviniens 
 
 "(Cf. Lau,, VI I, 84,69, and note 39 above.) Ronsard also 
 
 wished to appear more learned by mentioning Greeks who were not so 
 well known to the majority as the Latin heroes, witness his 
 
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25 . 
 
 Whenever he was in Paris during these last years of his 
 life, he stayed at the College de Boncourt, of which Galland was 
 director. There he was not far from the homes of his friends, 
 
 Ba'if and Dorat, where he met other poets. He loved the atmosphere 
 of this neighborhood and especially that of the c ollege , which had 
 witnessed the first success of his colleague Jodelle. With charm- 
 ing simplicity he took his meals with the students and gave them ad- 
 vice in their efforts to write poetry. He taught them love of the 
 French language and his own theories of verse, and in his walks 
 through the gardens and \inder the trees of the court, he astounded 
 
 them by improvising beautiful translations, verse for verse, of 
 
 81 
 
 bits of Uirgil and Horace. 
 
 ( CSontinued) 
 
 change of "Tergile" to "Homere" in Lau.^VII, 280. Instances of 
 the mention of ^irgilian characters aside from those already cit- 
 ed are: Anchises, Lau., I, 197, 286; IV, 37, 116; Dido, I, 36S. j 
 
 81 Cf. Lau., VIII, 259 and Nolhac, on. cit .. 236-239, who base 
 
 their statements on two funeral orations for Ronsard by G. Crich- 
 ton ( Laudatio funebris .... f ol . 10) and J. Velliard ( Lauda tio 
 funebris fol, 16) and note 13 above. 
 

 
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26 . 
 
 PART II 
 
 IMITATION 
 
 Ronsard began writing poetry and also imitation of Virgil 
 at a very early age: 
 
 "Je n‘avois pas douze ans qu'au profond des vallees^... 
 
 Sans avoir soin de rien je oomposois des vers,"l 
 
 Such are the words which Ronsard wrote in his Discours a ^ L’Escot , 
 
 Seigneur de Glanv (1560), and although they may give his age as a 
 trifle too young, they are at least approximately true. His early 
 efforts, however, were not in French, but in Latin: 
 
 "Je fu premierement curieux du Latin". ^ 
 
 These Latin works have been lost, but that there was some imita- 
 tion of Virgil in them may be seen in such a remark as, 
 
 "Si autre-fois sous 1 ’ombre Gastine 
 Avons joue quelque chanson Latine 
 D'Amarille enamoure, ^ 
 
 In other words, Ronsard under the influence of his beauti- 
 ful sylvan surroundings wrote eclogues in imitation of Virgil. How 
 numerous or how close to Virgil the imitations were, we shall probablj” 
 never know. 
 
 iLau., V, 176; Bl., VI, 191. 
 
 ‘^Lau. , V, 177, Bl., VI, 191. Binet (ed. of Lau., 49)^ testifies to 
 this: "En sa premiere jeunesse il s'estoit addonn^ a la Muse 
 
 latine, et de fait nous avons veu quelques vers latins de sa facon 
 assez. passables, " ^ 
 
 3 
 
 Lau., VI, 130, Bl . , II, 394. In later editions the Virgil ian name 
 "Amarille" is changed to "Cassandre" .Bonsard could not have taken 
 the name from Theocritus, since he did not know Greek at this time. 
 
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27 . 
 
 POEMS PUBLISHED BEFORE OR DURING THE YEAR 1550 
 
 In the first of Ronsard's odes written in French and pri- 
 marily ini^ ired by Horace, there are many reminiscences of Virgil, j 
 but since the chronological order of these odes is uncertain be- 
 cause of their tardy publication, we shall begin our discussion of 
 the direct bofrowings of Ronsard from Virgil with the Hymme de 
 
 4 
 
 France , published in 1549. This poem of 224 lines is based almost 
 entirely on Virgil's 41 line eulogy of Italy in Georgies II, 136- 
 176. The first thirty lines appeal to his luth to sing for the 
 
 pleasure of Frenchmen and declare his intention of singing the 
 
 ' 
 
 glory of France. In this section there are but two Virgil ian pas- 
 sages, a translation of a line of the Georgl cei 
 "voler par les bouches des hommes:"^ 
 and a reminiscence of the Eclogues : 
 
 "Le sainct troupeau des pucelles chenues, 
 
 Du hault du ciel en terre revenues, 
 
 Regne entre nous:" 6 
 
 Then begins the actual eulogy, as does Virgil's, with a negative 
 
 statement that foreign lands and rivers cannot vie with France: 
 
 "II ne fault point que 1 'Arabia heureuse, 
 
 Ne par son Nil I'AEgypte plantureuse, 
 
 Ne I'Inde riche en mercerie estrange. 
 
 Face a la tienne egale sa louange." 
 
 "^As mentioned above (Part I, note 45) it is one of the six poems 
 published before 1549. 
 
 ^Lau., VI, 79j Gepr. , III, 9. 
 
 6Lau., VIII, 14; Ec . , IV, 6-7. 
 

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28 . 
 
 "Sed neque Medorum silvae, ditissima terra 
 heo pulcher Ganges atque auro turbidus Hermus 
 laudibus Italiae certent, non Bactra neque Indi 
 totaque turiferis Panchaia pinguis haren/s"^ 
 
 Although 
 
 miel 
 
 le dculx^ne pende aux arbrisseaux, .... 
 
 Des fiars lyons la semenoe euperbe 
 
 En est bien loing, et le serpent par I’herbe, 
 
 Tel qu’en I’Affrique, horrible n'espovante 
 
 Le seur pasteur: ne 1 'amour vehemente 
 
 Qui s'enfle au front du poulain, n'y est pas 
 
 Mixtionn^e es amoureux apas" . 
 
 "mellaque deoussit foliisj’ 
 
 "at rabidae tigres absunt' et saeva leonum 
 seraina, neo miseros fallunt aconita legentis, 
 nec rap it immensos orbis per humum neque tanto 
 
 squameus in spiram traotu se colligit anguis.". 
 
 "quaeritur et nascentis equi de fronte revolsus 
 et matri praereptus amor."8 
 
 Four lines of Virgil beginning with a negative idea and ending with 
 an adversative clause are developed into twelve lines; 
 
 "Ses champs Jason de ses taureaux ardans 
 Na laboura, pour y jet ter dedans 
 D*un grand serpent les macho ires terribles: 
 
 Ne la moisson de tant de gens horribles. 
 
 Hors de la terre a force deasereez.^ 
 
 S'est heriss^e en corseletz ferrez. ^ 
 
 Mai 8 au contraire, ils enfanten-^ un ble 
 Nous le rendant d'usure redouble: 
 
 Et dont jamais la premiere apparence, 
 
 Du laboureur n'a tromp6 I'esperance. 
 
 Plus qu'en nul lieu dame Ceres la blonde, 
 
 Et le donteur des Indes y abunde." 
 
 "haec loca non tauri spirant es naribus ignem 
 inverters satis immanis dentibus hydri 
 nec galeis densisque virum seges horruit hast is, 
 sed gravidae fruges et Baochi Massicus umor 
 i rnpleve p e." ^ 
 
 7 
 
 Lau. , VI, 80; Geor. . II, 136-139. 
 
 SLau., VI, 80-81, Geor. , I, 131 (or ^.,IV,30); Geor . .II. 151-154; 
 Aen. , IV, 515-516. 
 
 ®Lau., VI, 81; Geor . . II, 140-144. 
 
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29 . 
 
 Joyful flocks and olive trees grace France as well as Italy, but it 
 takes many more lines to describe them in French than in Latin, 
 which fact is likewise the case of the ” cheval belliqueur” describ- 
 ed in eight lines in French and one in Latin. Virgil's "ver as- 
 siduum" is developed in six lines: 
 
 "Que dirons-nous de la saison des temps? 
 
 Et des tiede\irs du volaige Printemps? 
 
 La cruaut6 des vents malic ieux 
 
 N'y regne point, ne ces monstres des cieux, 
 
 Ny tout cela qui plein de felonnie, ,, 
 
 Tient les sablons d'Aifrique, ou d'Hyrcanie.” 
 
 Francs, too, has minerals, - gold, silver, and bronze, and, as in 
 
 the Aeneid : 
 
 ” Jupiter a main gauche a tonn^. 
 
 Favor isant le Francoys, qu'il estime 
 Enfant d'Hector, sa race legitime: "^3 
 
 and just as he promised Venus that her son had a brilliant future, 
 
 so 
 
 " de la hault nous a transmis ses loix, 
 
 Et a jur4 de nous donner des Roys, 
 
 Qui planteront le liz jusqu'a la rive 
 Ou du soleil le long labeur arrive. 
 
 In a rhetorical question, as in Virgil, the lakes and seas are men- 
 tioned: 
 
 "Que diray plus des lacs et des fontaines, 
 
 Des bois tonduz et des forests haultaines? 
 
 De ces deux mers, qui d'un large et grand tour, 
 
 Vont presque France emmurant tout autour? 
 
 Maint grand vaisseau, qui maint butin ameine, 
 
 Parrai noz flots seurement se promeine." 
 
 ^^Lau., VI, 81-83; Geor . . II, 144-145. 
 
 ^^Lau. , VI, 82; Geor., II, 149. Virgil does not use a rhetorical 
 question here. 
 
 12Lau., VI, 82; Geor . . II, 165-166. 
 l^Lau. , VI, 82; Aen . , II, 693. 
 
 ^^Lau., VI, 82; Aen. . I, 286-388. 
 
30 . 
 
 I 
 
 "an mare, quod supra, memorem, quodque adlult infra? 
 anne lacus tantos? te, Lari maxima, teque, 
 fluctibus at fremitu adsurgens Benaoe marine? 
 an memorem portus "^5 
 
 An incident of nine lines inspired from auiother part of the 
 Georgicsl S describes the bliss of the simple countryman who re- 
 spects the woodland gods and desires not great honors, but who 
 sings to the lyre first brought to France by Ronsard,^'^ The cities 
 
 and fortresses have their place in the Hymne , but they are not in- 
 troduced in an imperative sentence as in Virgil: 
 
 "II (le poete) contera de la France lesjports, 
 
 Et les citez, les villes, et les forts. 
 
 Droit elevans un front audacieux, 
 
 Et un sourcil qui menace les cieux." 
 
 "adde tot egregias urbes operumque labor em, 
 tot congesta manu praeruptis oppida saxis^"18 
 
 but an imperative does occur a little later based on the same lines 
 
 of Virgil: 
 
 "Adjoustez y tant de palais dorez, 
 
 Tant de sommets de temples honnorez, 
 
 Jadis rochers, que la main du macon 
 Elaboura d'ouvraige et de fagon."'^® 
 
 There are reminiscences, of Tirgil’s hardworking country youth: 
 
 "Le lent sommeil, ne la morne langueur^ 
 
 Ne rompent point des Jeunes la vigueur."*^^ 
 
 of his singing olden praise of art: 
 
 "La Eoesie et la Musique soeurs, 
 
 Qui noz ennuis charment de leurs douceurs, 
 Y ont r’aquis leiirs louanges antiques. "21 
 
 15Lau,, VI, 83, Geor . II, 158-161. 
 l^Lau., VI, 83, Geor . . II, 490-502. 
 l?Lau., VIII, 15, Geor . . Ill, 10-12. 
 
 ^^Lau., VI, 83-84; Geor . . II, 155-156 and 161 above. 
 I9Lau., VI, 84. 
 
 "*^Lau., VI, 84; Geor . . II, 472. 
 
 2lLau. , VI, 84; Geor . . II, 174. 
 

 
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 22 
 
 "L'art donte tout, et la perseverance." 
 
 Virgil’s line about the rivers of Italy is developed into six 
 verses: 
 
 "Un million de fleuves vagabons, 
 
 Trainans leurs flots ielicieux et bons, 
 
 Leschent les murs de tant de villes fortes ^ 
 
 "Dordonne, Somme, et toy Seine qui portes 
 Dessus ton dos un plus horrible faix, 
 
 Que sur le tien, Neptune, tu ne fais." 
 
 23 
 
 "fluminaque antiques subterlabentia muros" 
 
 The vigorous race of France's warriors is crowned, as Italy’s is by 
 Augustus Caesar, by Henry, whose conquering arms have already been 
 seen in distant lands. As Virgil’s eulogy closes with greetings 
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 "Je te salue, 6 terre plantureuse, 
 
 Heureuse en peuple, et en Princes heureuse. 
 
 Moy ton Poete, ayant premier ^os^ 
 
 Avoir ton los en rime compose, 
 
 Je te supply, qu’a gre te eoit ma lyre." 
 
 "salve, magna parens frugum, Saturnia tellus, 
 magna virum: tibi res antiquae laudis et artis 
 
 ingredior, sanctos ausus recludere fontis, 
 
 Ascraeumque cano Romana per oppida carmen. "^5 
 
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 Hvmne . The ideas are not always expressed in the same sequence, 
 but they are practically always expressed in the same form. In ad- 
 dition, there are, in the lines not based directly on the eulogy, 
 frequent allusions to other parts of Virgil. 
 
 23Lau. , VI, 84; Geor « . I, 145-146 
 23Lau., VI, 84; Gflq£.,H, 157. 
 
 24Lau., VI, 84-85; Geor . . II, 167-172. 
 25Lau., VI, 85; Geor . . II, 173-176. 
 
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 With the exception of the Avant-entree du Rol treachrestien 
 k Paris . 1 'an 1549 (1549) the other five poems published before 
 1550 have scarcely a trace of Virgil. 26 in the Avant-entree there are 
 several reminiscences, - the return to earth of the virgin Astree, 
 who had abandoned it; the mention of Carthage as the seat of Juno?*^ 
 and the lines 
 
 "Et dedans toi (Paris) les estrangers viendront 
 Baiser son temple et leurs veus lui rendront. 
 
 A sa (du Roi) venue il semble que la terre 
 Tous ses tresors de son ventre deserre, 
 
 Et que le del ardent ement admire 
 
 Leurs grands beaut^s, ou d'enhaut il se mire 
 
 Enamoure, et courhe tout expres 
 
 Ses larges yeus pour les voir de plus pres. 
 
 Telle saison le vieil age eprouva 
 Quant le Chaos demelle se trouva, 
 
 Et de son poix la terre balancee 
 
 Fut des longs doits d© Neptune embrassee, 
 
 Lors que le Ciel se voutant d*\in grand tour 
 Emraentela le monde tout autour. 
 
 Ja du Soleil la tied© lampe alume 
 Un autre jour plus beau que de coustume. 2 q 
 
 Ja les forests ont pris leurs robes neuves, . . . . 
 
 While the first four books of the odes, published in 1550, 
 are primarily imitations of Pindar and Horace, Virgil has an im- 
 portant place in them. The first strophe of the Ode a Roine 
 describing the fury of a priestess possessed by her god is in part 
 
 26a stanza in the Ode a Peletier (1547) mentioning the fragrance of 
 Indian ivory and Sabean flowers (Lau., VI, 72) may be traced to 
 Geqr . , I, 56-57; or II, 116-117. The beginning of the Fantaisie 
 a sa Dame . "Il estoit nuict, ..." etc., reminds one of Aen . , IV, 
 522; or VIII, 26, and the vine and elm^and ivy and branches com- 
 bination in the Enithalame (1549) (Lau., II, 312) of Eq. , II, 70; 
 IV, 19; or V, 32. 
 
 27 
 
 Lau., VI, 74, 75; Eq. , IV, 6; Geor . . II, 474; Aen . . I, 15. 
 
 28Lau. VI, 75; ^. , V, 74,80; Geor . . I, 42; Ec., IV, 50-52; VI, 31- 
 40; III, 56, 57. 
 

 
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 inspired by the description of the Sibyl in the Aeneid especially 
 such expressions as "estomao .... pantois ("pectus aucihelura") and j 
 
 O Q 
 
 "fuyez peuple" ("procul o, procul este, profani"). The Avant- ' 
 venue du Printemps is borrowed largely from the descriptions of 
 spring in the Georgies . The constellation of the Bull is invoked 
 as the initiator of the new season; and the nymphs of the waters j 
 are begged to break their icy bonds and, raising their heads above 
 the water, to glide down the streams in order that the season may 
 be joyful at its victory over stormy winter. The tender plants 
 
 '7T 
 
 dare to show their green leaves;'^'^ 
 
 "Jupiter d' amour s'enflame, 1 
 
 Et dans le sein de sa femme | 
 
 Tout germeux se va lan§ant, j 
 
 Et meslant sa force en elle, 
 
 De sa rosee eternelle 
 Va son ventre ensemencant: 
 
 Si qu’elle estant en gesine 
 Respand sa charge divine 
 Sur la terre, a celle fin 
 Que la terre mesme enfante, 
 
 De peur que ce Tout ne sente 
 En ses membres quelque fin." 
 
 "turn pater omnipotens fecundis imbribus Aether 
 coniugis in gremium laetae descendit et omnis 
 magnus alit magno commixtus corpore fetus, 
 avia turn resonant avibus virgulta canoris 
 et Venerem certis repetunt armenta diebus; 
 parturit almus ager Zephyrique tepentibus auris 
 laxant arva sinus; "32 
 
 Love awakens all nature posing his darts from his ear-tip, and 
 
 "Du grande air la bande ailee 
 De I'eau la troupe escaillee 
 Contrainte du dard veinqueur, 
 
 Ny dans 1‘eau ny par les nues 
 N'esteint les flames congneues 
 De tous ceux qui ont un coeur." 
 
 II, 93; Aen . . VI, 45-51,77-80, 255-259. 
 
 II, 171, 172; Geor. , I, 217, 43-44; IV, 352; II, 332-334. 
 VII, 243; Gear . . II, 335. 
 
 II, 172;Geor. , II ,325-331 . The wording of the original Ronsaic 
 text imitates Virgil a little more closely. 
 
 29Lau. , 
 30Lau, 
 3lLau. , 
 32Lau . , 
 
 Lau., II, 172; A^. , IX, 417. 
 

 
 
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34 
 
 ”Omne adeo genus in ter r is hominumque ferarumque, 
 et genus aequoreum, pecudes pictaeque volucres, 
 in furias ignemque ruunt; amor omnibus idem. "34 
 
 Ships, "laschant aux voiles les brid0s"S5 start on long journeys. 
 
 "Du Printemps la saison belle, 
 
 Quand la terre estoit nouvelle, 
 
 L’an paisible conduisoit: 
 
 Du soleil qui nous esclaire 
 La lamps eternelle et claira 
 Tiede par tout reluisoit. 
 
 But the jealous gods did not permit the spring to be eternal; in- 
 stead they caused it to give place to summer and winter. Ware a- 
 rose, trees were hollowed to make ships, poison was mixed in wine,- 
 everywhere ills appeared. From this analysis it is apparent 
 that there is scarcely an idea in the A van t- venue which does not 
 have its counterpart in Virgil. 
 
 In the Consolation a Royne de Navarre on the death of 
 
 her nephew, the Duke of Orleans, which poem is an imitation of 
 
 Horace's ode to Virgil on the death of Varus, there is a passage of 
 
 38 
 
 twenty lines imitated from the apotheoses of Daphnis and Caesar, 
 but the tone is different, being for one thing more Christian. It 
 is really a contamination of Virgil's ideas rather than a pure 
 imitation. 
 
 34hau., II, 173; Geor . . Ill, 242-244. 
 
 35Lau, , II, 173; Aen. . VI, 1. 
 
 ^°Lau. , II, 173; Geor . . II, 336-342. 
 
 37hau., II, 173-174; Geor . . I, 125-146; II, 537-539. Several 
 
 ancient authors besides Virgil described the evils which followed 
 the golden age, but it is likely that Ronsard had Virgil in mind 
 here since the preceding lines are imitated from him . 
 
 ^®Lau., II, 188; Ec. , V, 20, 57, 80; Geor . . I, 24-42, 
 
 I 
 

 
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35 . 
 
 The Ode a Guillaume dee-Autel s in praise of Vendomois, | 
 primarily Horatian in Inspiration, has a number of Virgilian 
 touches. ”Minoius” might be substituted for "Loir" in one stanza: 
 
 "Le Loir tard a la fuite | 
 
 En soy s' esbanoyant, 
 
 D'eau lentement oonduite 
 Tes champs va tournoyant ; " 
 
 the beginning of the eulogy of Italy and the flight of Justice 
 from earth are recalled in others: 
 
 •'L'lnde pourtant ne pense 
 
 Te veincre, oar les Dieux 
 D'une autre recompense 
 Te fortunent bien mieux. 
 
 La Justice grand 'erre 
 S'enfuyant d'ici bas, 
 
 Imprima sur ta terre 
 Le dernier de ses pas: 
 
 Et s' encore a oeste heure 
 De 1 'antique saison 
 Quelque vertu demeure 
 Tu es bien ea maison."^ 
 
 The theme of the ode against the sorceress Denise may be 
 taken from Horace's epodes against Canidia, but there are Virgilian 
 ideas and expressions in nine out of fifteen stanzas. The "Terre i 
 mere" ("Terra parens") ...."bruslez du feu des Cieux "("ira in- 
 ritata deorum") brought forth the sorceressa huge monster (laschant 
 
 a peine" - "ingens"), to spite the gods.^^ This creature like 
 
 the "novercae" knows the season when the "virus" of mares ("les 
 fleurs des femmes") is best for love philtres, and gathers herbs on 
 lonely nights with "une serpe d'airain" (falcibus . . . .aenis) .42 
 
 39hau. , II, 2©6-206; Geor . .Ill . 14. The passages of the poem imita- 
 ted from Horace are inspired by Carmina I, XVII, 13ff; XXXI, 6-8; II, 
 ^III end, VI end. 
 
 ^Lau., II, 206; Geor . . II, 138; 473-474. 
 
 4lLau., II, 207; Aen. . IV, 178-181. 
 
 42Lau., II, 208; Geor . . Ill, 281-282; ^. , IV, 513. 
 

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36 . 
 
 Like Moeris she can change herself into a wild stnimal or call 
 
 I 
 
 spirits from their sepulchres: ! 
 
 "Voilant ton execrable teste 
 
 De la peau d’une estrange beste 
 
 Et par I'horreur des cimetaires 
 
 Au son des vers que tu murmur es | 
 
 Les corps des morts tu des-emmures 
 
 De leurs tombeaux reolus."43 I 
 
 i 
 
 At the coming of the sorceress, in fright 
 
 i 
 
 ”Les fleuves contremont recullent, 
 
 Et les fiers loups par bandes hullent 
 Dedans I'obscur des bois."^^ 
 
 She can enchant the moon, and with her evil eye bewitches the 
 flocks in the fields. In horror at her deeds, like Priam at 
 Pyrrhus, the poet prays for her death, 
 
 "Dieuxj si la haut pi tie demeure, ...." 
 
 "Di, si qua est caelo pietas, . . . . 
 
 The ode entitled Peintures d*un Pavsage might well be call- 
 ed Peintures de Virgile . for it is composed almost entirely of 
 scenes imitated from ¥irgil. The first picture, of four stanzas, is 
 that of the Cyclops at work under Mt. Aetna. The following part 
 of it is a free translation of passages in the Aeneid and Greorgic s: 
 
 "Ou touts I'engence enfrongn^e 
 Des Cyclopes laborieux, 
 
 Est a la forge embesongnee, 
 
 Qui d‘un effort industrieux 
 Haste un tonnerre, armeure de la dextre 
 Du plus grand fils que Sa turns ait fait naistre. 
 
 ^^Lau., II, 208, Ec. , VIII, 97-98. 
 
 44Lau., II, 208; Aen . . VIII, 240; Geor . . I, 486. This is the origin- 
 al text as found in the critical edition of the Soci6te des textes 
 frangais modernes . Vol., I, 240. 
 
 45Lau., II, 209; VIII, 69; III, 103. 
 
 ^Lau. , II, 209; Aen . . II, 536. 
 

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37 . 
 
 "Trois, sur I'enclume gemissante 
 D'ordre egal le vont martelant, 
 
 Et d'une tenaille plngante 
 Tournent I'ouvrage estinoelant : 
 
 Vous les diriez qu'ils ahanent et suent, 
 Tant leurs marteaux dessus I'enclume ruent. 
 
 . En trois rayons de pluye torte 
 Tout 1© tonnerre est finissant, 
 
 En trois de vent qui le supporte, 
 
 Et en trois de feu rougissant: 
 
 Ores de peur, ores de bruit, et ore 
 D'ire et d'esclair on le polit et dore. 
 
 Le metal coule, et dedans la fournaise 
 Comme un estang se respand en la braise.” 
 
 "Ferrum exercebant vasto Cyclopes in antro,... 
 his informa turn manibus iam parte polita 
 fulmen erat, toto genitor quae plurima caelo 
 deicit in terras, pars imperfecta manebat." 
 
 "....lentis Cyclopes fulmina massis 
 cum properant, alii taurinis follibus auras 
 accipiunt redduntque, alii stridentia tingunt 
 aera lacu; gemit impositis incudibus Aetna; 
 illi inter sese magna vi bracchia tollunt 
 in numerum, versantque tenaci forcipe ferrum:" 
 
 "tris imbris torti radios, tris nubis aquosae 
 addiderant, rutili tris ignis et alitis Austri. 
 fulgores nunc terrificos sonitumque metumque 
 miscebant operi flammisque sequacibus iras." 
 
 "....fluit aes rivis aurique metallum 
 volnif icusque chalybs vasta fornace liquescit . 
 
 The few remaining lines of the description are a development of the 
 
 theme rather than imitation. 
 
 The second picture is that of a sea storm and has many 
 
 elements in common with the storms of the Aeneid: 
 
 Lau., VI, 104-105. The first stanza comes from Aen . . VIII, 434, 
 436-438, the second from Geor . . IV, 170-175, the third from Aen., 
 VIII, 439-432 and the last two lines from 11. 445-446 of the same 
 book. The Latin passages are quoted in this order. 
 
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 .. . "pamjr lee nues 
 Enfl6es d'un vague ondoyant” 
 
 48 
 
 ”turbidus imber aqua densisque nigerrimus Austris," 
 
 "Le feu 80 suit, et saccageant l*air, gronde 
 Faisant trembler les fondements du monde” 
 
 "Intonuere poll, et crebris mioat ignibus aether,... 
 tonitruque tremescuntilardua terrarum."^® 
 
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 Sa voile trop serve du vent;" 
 
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 En forme de lances errans," 
 
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 but a series of reminiscences. 
 
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 her again just as Venus rewins Vulcan in the Aeneid .^^ Around her 
 are the Loves powerful over all creatures, - fish, birds, beasts. 
 
 and men, - even to causing the death of lovers like Leander who 
 
 must swim across the sea to their sweethearts: 
 
 "Leandre proye a la mer inhumaine, 
 
 Pendu aux flots no«e ou 1 ’amour le raeine." 
 
 ^Lau., 
 
 VI, 
 
 105j 
 
 Aen. . 
 
 V, 696. 
 
 49Lau. , 
 
 VI, 
 
 105; 
 
 Aenl , 
 
 I, 90; V, 694-. 
 
 ^Lau. , 
 
 VI, 
 
 105; 
 
 Aen. , 
 
 V, 15. 
 
 5lLau. , 
 
 VI, 
 
 105; 
 
 Aen. , 
 
 I, 105, 87. 
 
 ^^Lau. , 
 
 VI, 
 
 105; 
 
 Aen. . 
 
 VIII, 392. 
 
 53Lau. , 
 
 VI, 
 
 106; 
 
 Aen. , 
 
 VIII, 387 ff. 
 
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 nocte natat caeca serus freta."54 
 
 Jupiter, as the Heavens in the Georgies , 
 
 "Baise sa femme, et sur I'heure fait naistre 
 Le beau Printemps saison du premier estre."^^ 
 
 A final reminiscence is in the description of the Ocean^ 
 
 "Ou les dauphins aux doz courbez y nouent 
 Et saut elans k mills bonds se jouent.” 
 
 ”va8ti .... gens umida ponti 
 exsultans rorem late dispergit amarura."56 
 
 In the Ode a Rene Mac 6 there is the expression of humble 
 regret that the poet has not been able to sing an epic for Mace, 
 but also of hope that even simple verses may add a little to Mace’s 
 glory. So in the sixth Eclogue Virgil addresses a lowly lay to 
 Varus since he cannot sing of kings and battles. The last two 
 stanzas are imitated from the Georgies : 
 
 "Ils (raes vers) chanteront a noz neveux 
 Conme tu alias aux montagnes 
 D ’Helicon, voir les Soeurs compagnes 
 Et Apollon aux beaux cheveux*. 
 
 Et comme la charmante vois 
 De tes douces et braves rimes 
 Les for§a de quiter leurs cimes 
 Pour habiter le Vandomois,” 
 
 ”Primus ego in patriam mecum, raodo vita super sit, 
 
 Aonio rediens deducam vert ice Musas; 
 
 Primus Idumaeas referam tibi, Mantua palmas."58 
 
 The Ode a Charles de Pisseleu on the various pursuits of 
 mankind mentions some of the same characters that are set in con- 
 trast to the laboriois farmer in the Georgies. The laborious farmer 
 
 S^Lau. , VI, 106) Geor . . Ill, 243-243, 259-263. 
 55Lau,, VI, 106, Geor . . II, 326-327. 
 
 °®Lau., VI, 106; Geor . . IV, 430-431. 
 
 °aau., VI, 108; Ec. , VI, 3-10. 
 
 ^®Lau., VI, 108; Geor . . Ill, 10-12. 
 
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40 . 
 
 himself has a stanza devoted to him: 
 
 "L’un asloigne des foudres de la guerre 
 Veut par les champs son age consumer 
 A bien poitrir les mottes de sa terre 
 Pour de GotSb les presens y semer:59 
 
 i 
 
 The Warriors, who "ardant aiment les: arms "("ruuntque in ferrum”); 
 the sailor who in Ronsard is also the greedy seeker of gold; the 
 
 I 
 
 public speaker; the popular statesman: 
 
 "L'autro plus sain ne met 1 'esprit, sinon 
 Au bien public, aux choses d' importance, 
 
 Cherchant par peine un perdurable nomi! 
 
 ” hunc plausus hiantem 
 
 per cuneos geminatus enim plebisque patrumque 
 corripuit " 
 
 the courtier: 
 
 "L'un suit la court et les faveurs ensemble" ' 
 
 "penetrant aulas et limina regum " j 
 
 I 
 
 and the exile, who by Ronsard is called the pilgrim, are found in 
 both authors.^ 
 
 Another ode about one of the seasons, the Ode de 1 * Este . 
 has its origin in the Georgies . alth®M/hit is so cleverly arranged^ 
 and filled with incidents gained in part from observations in 
 Vendomois, that it cannot be called a paraphrase of Virgil.®^ In 
 the two opening stanzas describing the intense heat there are 
 parallels for practically every idea in passages of the G eorgie s: 
 
 59Lau., II, 287; Geor . . II, 513-518. 
 
 60 All of these quotations from Ronsard are in Lau. , II, 287 and 
 those from Vdrgil in Geor . . II, 503-512. 
 
 ^^Laumonier in his Ronsard poete Ivrigue . pp. 439-440 discusses the 
 originality of Ronsard in this poem, but the numerous allusions 
 to Virgil make it impossible to deny its primary inspiration to 
 the Latin poet. If it^^not a translation or paraphrase, it is 
 certainly an imitation. 
 

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 A "Desja les grands chaleurs s ' esmeuvent , 
 
 B Et taris les fleuvas ne peuvent 
 Leurs peuples esoaillez couvrir: 
 
 C Ja voit on la plains alter^e 
 Par la grande torche ether^e 
 De Boif se lascher et s'ouvrir. 
 
 D L 'estincelante Canioule, 
 
 Qui ard, qui ouist, qiii boust, qui brule, 
 
 L'ardeur nous lance de la haut, 
 
 E Et le Soleil qui se promeine 
 F Par le bras du Canore, rameine 
 
 Tels jours recuits d' extreme chaud." 
 
 D ”iara rapidus torrens sitiantis Sirius Indos 
 AE ardebat caelo, et medium sol igneus orbem 
 B hauserat; ardebant herbae, et cava flumina siccis 
 faucibus ad limum radii tapefacta coquebant , . . . . 
 
 CD ubi hii(ic3a siti findit Canis aestifer arva 
 
 F iara bracchia contrahit ardens Scorpios.” 62 
 
 In the noon heat the farmers are cutting Ceres' grain, or as Virgil 
 
 says: 
 
 "rubicunda Ceres medio succiditur aestu,"63 
 
 while their wives prepare to bring them refreshing food: 
 
 "Ce-pendant leurs femmes sont prestes 
 
 D'asseurer au haut de leurs testes 
 Des plats de bois, et des baris, 
 
 Et filant, marchent par la plaine 
 Pour aller soulager la peine 
 De leurs laborieux maris.” 
 
 ”Thestylis et rapido fessis messoribus aestu 
 alia serpullumque herbas contundit olentis."®'^ 
 
 Then the early morning activities of the shepherd are taken up: 
 
 "Si tost ne s'eveille I'Aurore, 
 
 Que le pasteur ne soit encore 
 Plustost leve qu'elle, et alors 
 Au son de la come resveille 
 Son troupeau qui encor sorameille 
 Dessus la fraische herbe dehors." 
 
 62Lau., II, 272j Geor . . IV, 425-428; II, 353; I, 34-35. The capi- 
 tal letters indicate the order of the ideas. A change of the 
 constellation from Scorpio to Cancer is to be noted. 
 
 ^^Lau., II, 272; Geor . . I, 297. 
 
 ®^Lau., II, 272; Eo^, II, 10, 11. 
 

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42 . 
 
 "Luciferi prime cum sidere frigila rura 
 carpamus, duin mane novum, dura gramina oanent^ 
 et ros in tenera pecori gratissimus herba.”6b | 
 
 i 
 
 and are followed by a description of the flocks in the meadows and ! 
 
 I 
 
 "par les bois, par les rives vertes"_, S 
 
 "ourrentera il ignis.. canal ibus undam," ... | 
 where the "troupeaux lascifs" ("lasciva capella")67 gambol. 
 
 "Mais quand en sa distance egale 
 Est le Soleil et la Cigale 
 Espand I'enroue de sa voix, 
 
 Et que nul Zephyre n'haleine 
 
 Tant soit peu les fleurs en la plaine, | 
 
 Ne la teste ombreuse des bois:" | 
 
 "At .... raucis .... i 
 
 5sole sub ardenti resonant arbusta cicadis .... | 
 
 inde ubi quarta sitim caeli collegerit hora ' 
 
 et cantu querulae rumpent arbusta cicadas, "68 | 
 
 "Adonc le pasteur entrelace i 
 
 Ses paniers de torce pelace,..." 
 
 "Quin tu aliquid .... 
 
 virainibus mollique paras detexere iunco? 
 
 dum sedet et gracili fiscellam texit hibisco."®^ 
 
 Or like a fish the shepherd swims 
 
 "Et avec les ondes se ;Joue".'^6 I 
 
 In the hot summer it was, that the Virgin left the earth to become i 
 a constellation in the heavens. At this season the bulls under | 
 
 i 
 
 the oak trees languish 
 
 65Lau., II, 273; Geor . . Ill, 324-326. 
 
 66Lau., II, 273; Geor . . Ill, 330. 
 
 67Lau., II, 273; Ec . , II, 63. 
 
 ^Lau., II, 273; , II, 12-13; Geor . . Ill, 327-328. 
 
 69Lau., II, 273; Ec . , II, 71-72; X, 71. 
 
 OLau. , II, 273; Geor . , IV, 430-431 where the fish are described in 
 the heat of day. Of. Note 56. 
 
 '^'^Lau. , II, 273-274; Geor . . I, 33; II, 473-474. 
 
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 Par las bois son toreau cruel. 
 
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 mal"73 and then in taking care of the flock he follows the actions 
 
 of the shepherd in the third Georgio : 
 
 "Et lors de toutes parts r' assemble 
 Sa troupe vagabonds ensemble, 
 
 Et la convoye aux douces eaux, 
 
 Qui sobre en les beuvant ne touche 
 ^ns plus qua du haut de la bouche 
 Le premier front des plains ruisseaux. 
 
 Puis au son des douces musettes 
 March ent les troupes camusettes 
 Pour aller trouver le sejour, 
 
 Ou les aspres chaleurs de 50 ivent 
 Par un dormir qu'elles re 90 ivent 
 Lentement jusqu 'au poinot du jour. "74 
 
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 inspiration. 
 
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 wherein the poet laments his sad love in a manner similar to Orpheus 
 
 7 R 
 
 in the Georgies . The flight of Jupiter to earth recalls that of 
 Mercury, 76 ^nd the comparison of the swan to the eagle seizing a 
 snake which gleams in its new skin has also its parallel in the 
 Aeneid .'^'^ Other lines in the poem such as those about Leda's gather 
 ing flowers and about the paintings on her basket and comparisons 
 
 72Lau., II, 274; Geor . . Ill, 212-317; II, 470. 
 
 73Lau., II, 274; Ec. , II, 67-68. 
 
 *^^Lau. , II, 374; Geor « . Ill, 329-330, 335-338. For"troupes camu- 
 settes" cf. ^. , X, 7. 
 
 75Lau., II, 290 2nd stanza, Geor . . IV, 463-465, 506-509. 
 
 76Lau., II, 291 last stanza and 292 last four lines of first stanza; 
 
 Aen. , I, 300; IV, 245-257. 
 
 77Lau., II, 292 1st stanza; Aen., XI, 751; II, 473. 
 
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44 . 
 
 like "plus blanc qua la laict" are in the eclogue style. In an j 
 
 invective Centre un qui lui deroba son Horace a madness like Pen- ■ 
 
 theus' and a fury pursuing him like Orestes, a combination found in | 
 the Aeneid . are invoked upon the culprit. '<'9 ‘ 
 
 When Ronsard was planning to go to Italy, he wrote an Ode 
 au pais de Vandomois . wherein he naturally speaks of parts of Italy 
 that he expected to see. A number of these places were made famous 
 by Virgil, and in Ronsard are described in Virgil’s style. Italy 
 itself is called 
 
 " le pays enclos 
 
 De deux mers, et qui serre | 
 
 De Sa turns les os. "80 ] 
 
 Virgil's Mincius will be seen: 
 
 "Je voirray le grand Mince, 
 
 Le Mince tant cognu, | 
 
 Et des fleuves le prince 
 Eridan le cornu : . . . 
 
 Et la course erratique 
 D'Arethuse, dont I'eau 
 Fuyant les bras d'Alph^e 
 Se desrobe a nos yeux."Sl 
 
 I 
 
 and Aetna, the trophy of the gods, and Rome , mistress of the world. | 
 The movement and some of the ideas (freedom from fear of wars, sen- | 
 ates, and kings) of the last three stanzas are also borrowed from | 
 Virgil. 83 
 
 In the latter part of the ode De 1 ' election de son sepul- j 
 
 I 
 
 chre . which is a sort of continuation of the ode in praise of Ven- | 
 domois,84 there are a number of Virgil ian reminiscences, - the envy 
 
 78Lau., II, 292,294,391; , II, 46-48; III, 36 ff , VIII, 660. 
 
 79Lau., VI, 123; Aen. . IV, 469-473. 
 
 SOLau., II, 312; Geor . . II, 158, 173. 
 
 8lLau., II, 313; Geor. . Ill, 14-15; I, 482; IV, 371; Aen., Ill, 
 694-696. 
 
 82Lau., II, 313-314; A^. , III, 579; VI, 781. 
 
 83Lau., II, 314-315; Geonl l . 490-498. 
 
 °4See notes 39 and 40 above. 
 

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45 , 
 
 of those seeking court honors, the magic art and love potions of 
 lovers, the annual worship of a deity by shepherds, milk offerings, 
 and the Elysian fields, where kings are solicited by the same cares 
 as they were on earth, but live peacefully together.®^ At the be- 
 ginning of the poem the forests and caves are addressed like the 
 trees in the Eclogues . 
 
 Many of the stanzas of the so-called Ovidlan Ravisseraent de 
 Oephale are borrowed from Virgil. The poem opens with the arousing 
 of the sea nymphs by one of their number to begin work on a cloak 
 for the daughter of Neptune, In the Georgies Gyrene and her sisters 
 are busily engaged in spinning when they are aroused by the cries of 
 Aristaeus.SV On the cloak the nymphs embroider a Virgil ian sea- 
 storm: 
 
 "Au milieu d'elle (la mer) un orage 
 Mouvoit ses flots d*ire pleins: 
 
 Palles du futur naufrage 
 Les mariniers estoient peints. 
 
 Des^armee est leur navire 
 
 Du haut jusqu’au fondement, 
 
 Ca et la le vent la vire 
 Serve a son commandement: 
 
 Le oiel foudroye, et les flames 
 Tombent d’un vol escart^, 
 
 Et ce qui reste des rames 
 Vont le chant de leur clarte. 
 
 La mer pleine d‘ incons tance 
 
 Jusqu' au ciel arme son eau, 
 
 Et touts despite tance 
 Les flancs du veincu bateau^ 
 
 D'une Boye et noire et perse 
 Cant niies entrelassoient, 
 
 Qui d’une longue traverse 
 Tout le serein effagoient: 
 
 Si que la pluye et la gresle, 
 
 Les vents et les trourbillons 
 Se menacent pesle mesle 
 Sur les humides sillons: 
 
 85Lau. , II, 316- 8th and 9th stanzas, 317 5th, 6th and last stanzas, 
 318 1st stanza and VII, 277; Geor . . 11,499; Geor . .Ill , 282; , V, 
 
 79-80, 67; ^en. , VI, 638-641, 651-655. 
 
 86Lau., II, 316; , V, 21. 
 
 87Lau.. II. 329: Geor.. IV. 335-344. _ 
 
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 "Les rerapars des eaux bruyantes ! 
 
 Sembloyent estre trop lavez ! 
 
 Des tempestes aboyantes 
 Autour de laurs pieds cavez. 
 
 Neptune y fut paint luy-mesme 
 Brod4 d'or, qui du danger 
 Tirant le marinier blesme, 
 
 L'eau en I'eau faisoit ranger: 
 
 Les troupes de la mer grande 
 Sont leur Prince environnans, 
 
 Palemon, Glauque, at la bande 
 Des Tritons bien resonnans. 
 
 Luy, les brides abandonne 
 
 A son char, si qu'en glissant 
 Sur la mer, ses loix il donne 
 Au flot luy obeyssant: 
 
 Et se jouant des bus I'onde 
 
 Se raonstre seul gouverneur i 
 
 Et Roy de I'humide monde | 
 
 Qui s’encline a son honneur."88 i 
 
 These lines correspond to Aen , , I, 87, 91, 92, the fear and imminent 
 
 I 
 
 death of the sailors; Aen . . I, 104, 90, 119, the breaking of the oars' 
 and the thunder and lightning; Aen . . I, 84, V, 693-694, 696; IV, 161; 
 I, 129, 118, the high waves, black clouds, rains_, winds, etc. ; Aen . .1 
 124, 142-147, 154-156, Neptune and his companions quieting the waves. 
 
 After this description, one of the nymphs, like Clymene in 
 the Oeorgics8 9^ begins a story, - the story of Oephalus and Aurora, 
 in which narration Dido’s love affair with Aeneas is not forgotten. 
 Aurora is smitten with love for Oephalus, whom she sees while he is j 
 gathering the last breath from the lips of his dying sweetheart (as | 
 Anna from the dying Dido).®^ The mere sight of Oephalus enflames ! 
 
 I 
 
 Aurora: I 
 
 "Ses mouelles sont ja pleines 
 D'un appetit desreigle^ 
 
 Et nourrist au fond des veines 
 Un feu d’ amour aveugle". 
 
 80Lau., II, 330-331. The paragraph following the quotation contains 
 the Yirgilian citations referred to in the conclusion. 
 
 89Lau., II, 331; Geor . . IV, 345. 
 
 90Lau., II, 333; Aen . . IV, 684. 
 

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47 . 
 
 est mollis flarama medullas 
 
 interea et taciturn vivit sub pectore volnus.... 
 volnus alit venis et caeco carpitur igni.”9'l 
 
 She begins to forget Tithon, as Dido did Syohaeus, and the image of 
 
 the new lover takes his place: 
 
 ”C 0 phale qui luy retourne 
 
 En I'ame pour I’offenser, 
 
 Au plus haut sommet sejowpne 
 De son malade penser, 
 
 Et dedans I'ame blessee 
 La fievre luy entretient 
 Ores chaude ores glac6e. 
 
 Selon que I'acces la tient." 
 
 "Multa viri virtus animo multusque recur sat 
 gentis honos; haerent infix! pectore voltus ^ 
 
 verbaque, nec placidam membris dat cura quietem".''^ 
 
 At night she cannot sleep: she mourns for the absent lover, whom 
 
 she hears in spite of hie absence: 
 
 ”Si tost par la nuict venue 
 
 Les cieux ne sont obscarcis, 
 Qu'elle couche a terre nue 
 Sans abaieser les sourcis: 
 
 Car 1' amour qui 1 ' eguillonne, 
 Ne souffre que le dormir 
 En proye a ses yeux se donne: 
 Elle ne fait que gemir. 
 
 Et bien que de loin absente 
 
 De 1’ absent Cephale soit, 
 Comme s' elle estoit presente, 
 En son esprit 1 'apper 90 it : " 
 
 "... .lumenque obscura vicissim 
 luna premit suadentque cadentia sidera somnos, | 
 
 sola domo maeret vacua stratisque relict is 
 
 incubat. ilium absens absentem audit que vedetque,"93 , 
 
 Her wavering mind (dubiae mentis) 94 knows not what is bestjtc^e done: i 
 
 "Elle fuit eschevel^e ! 
 
 Portant bas le front et I'oeil, | 
 
 Et par bois et par valee j 
 
 Lasche la bride a son dueil." ! 
 
 |lLau. , 
 Lau. , 
 
 II, 
 
 333; 
 
 Aen 
 
 ., IV, 
 
 66-67, 2. 
 
 II, 
 
 333- 
 
 334; 
 
 Aen. , 
 
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 93Lau., 
 
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 80-83 . 
 
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48 . 
 
 ”uritur infelix Dido totaque vagatur 
 urbe furens , . . . fuga silvas saltusqua peragrat."^° 
 
 She attempts to master her passion with herbs and also consults 
 
 augurers in her search for relief: 
 
 " . . . . en b6ant regarde 
 Le fond des gesiers ouvers. 
 
 Pour voir si^'iuelque sorte 
 
 Pourra t romper sa douleur: 
 
 Mais nulle herbe, tant soit forte, 
 
 N’a sceu rompre son inalheur : " 
 
 ” imhians spirant ia consul it exta. og 
 
 heu vatuffi ignarae mantes.' quid vota furentem^" 
 
 Finally 
 
 "L ' eshonteemaladie 
 
 La vierge tant pressa la, 
 
 Qu *a la fin toute hardie 
 A Cephale ainsi parla^-" 
 
 "improbe Amor, quid non mortalia pictora cogis? 
 ire iterum in lacrimas, iterum temptare precando . ”9'^ 
 
 But, like Aeneas, he scorns her advances and flees from her as does 
 
 the shade of Dido from Aeneas: 
 
 ”Luy desdaignant sa priere 
 Fuit la suppliants voix 
 Et tout despit en arriere 
 S'escarta dedans le bois.” 
 
 " corripuit sese a-tque inimica refugit 
 
 in nemus umbrif erum, 
 
 In the end she seizes him in spite of his resistance 
 
 "... comme un aigle qui serre 
 Un liSvre en ses pieds donte, 
 
 En luy faisant perdre terre. 
 
 Par force au ciel I'a monte." 
 
 "qualis ubi . . . .leporem. . . . 
 sustulit alta petens pedibus Jovis arraigsr uncis,"^9 
 
 ^^Lau. , 
 
 II, 
 
 334 J 
 
 Aen ♦ , 
 
 IV, 
 
 68- 
 
 69, 72 
 
 ®6Lau. , 
 
 II, 
 
 335; 
 
 Aen. , 
 
 IV, 
 
 64, 
 
 65. 
 
 ^*^Lau. , 
 
 II, 
 
 335; 
 
 Aen . , 
 
 IV, 
 
 412 
 
 -413. 
 
 ^®Lau. , 
 
 II, 
 
 335; 
 
 Aen . , 
 
 VI, 
 
 472 
 
 -473. 
 
 99Lau. , 
 
 II, 
 
 336; 
 
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49 . 
 
 Thus it is apparent that the first two thirds of this poem of Ron- 
 sa rd ai*e clearly Virgilian, altKoi^the rest of it is not. 
 
 ODES PUBLISHED AFTER 1550 
 
 In 1551 was published the Tombea u de Marguerit e de Valo is . 
 Rovne de Navarre , which contained several poems by Ronsard. Among 
 these, the Hynne Triomphal d* elle-mesme has a long passage imitated 
 from the Aeneid . Christ sends a messenger to earth to do his bid- 
 ding in the same way that Jupiter sends Mercury in the fourth of the 
 Aene id: 
 
 "Et lors l*ange il appella 
 
 Qui par I'air vistement vole, .... 
 
 'Posts, dit-il, marche, fuy, 
 
 Kuche les vents et les suy, 
 
 Laisse ramer tes aisselles, 
 
 Et glisse dessus tes ailes, .... 
 
 La de ta parole endors 
 
 Ceste guerriere et le voile 
 De son victorieux corps 
 Transforms au ciel en estoile:” 
 
 "Afterwards," he continues* ," allow its image to roll through the 
 
 air in order that it fall on earth and scorning the tomb 
 
 "Vole en France sans repos . 
 
 Par la bouche:* de mainct homme."^ 
 
 In the Aene id Jupiter calls Mercury to him. and orders him 
 
 to take his commands to Aeneas: 
 
 "turn sic Mercurium adloquitur ac talia mandat: 
 
 'Vale age, nate, voca Zephyros et labere pinnis.'"2 
 
 The ideas of transform.ation into a star and of flitting on 
 
 the lips of men are found in the Georgies The description of the 
 
 iLau., II, 398-399. 
 
 ^Aen. . IV, 222-323. 
 
 3Geor., I, 32; III, 9. 
 
angel’s flight to earth is very similar to that of Mercury’s: 
 
 ’’L'Ange adonques s’est lie, 
 
 A Pour mieux haster sa carriers, 
 
 A 1 'un et k 1 ’autre pi4 
 L’une et 1 ’autre talonniere, 
 
 B Dont il est porte souvent 
 
 Egal aux souspirs du vent, 
 
 C Soit sus la terre, ou sus I'onde, 
 
 Quand sa roidour vagabonds 
 L 'avails outre I’air bien loing: 
 
 Puis sa perruque divine 
 Coifa d’une capeline, 
 
 D Prenant sa verge en son poing. 
 
 E De cells il est difermant 
 
 L'oeil de I'homme qui somraeille: 
 
 F Be cells il est endormant 
 
 Les yeux de I’homme qui veille: 
 
 G De cells en I’air soustenu, 
 
 Nagea tant qu’il fust venu 
 Se percher sus la montage 
 Q.ui fend la France et I’Espagne: 
 
 H Mont que I’orage cruel 
 
 Bat tousjours d’une tempests, 
 
 Tousjours en-gla^ant sa teste 
 D'un frimas perpetuel. 
 
 I De la se laissant pancher 
 
 A corps elance, grand ’erre 
 Fondoit en' bas pour trancher 
 Le vent qui raze la terre. 
 
 Deck et dela vagant, 
 
 A basses rames vogant 
 Ores coup sur coup mobiles. 
 
 Ores coyos et tranquilles, 
 
 J En oiseau qui vole bas, 
 
 Et I'aile au vent ne desplie 
 Quand pres des eaux il espie 
 Le hazard de ses appas. 
 
 X Ainsi le pront messager 
 
 Volant d’une aile subite 
 Glissa bassement leger,..."4 
 
 "...ills patris magni parere parabat 
 A impepio, et primum pedibus talaria neotit 
 0 aurea, quae subliraem alis sive aequora supra 
 CB seu terram rapido pariter cum flamine portant. 
 
 D turn virgam oapit, hac animas ills evocat Oreo 
 pallentis^ alias sub Tartara tristia mittit, 
 
 EF dat somnoB adimitque et lumina morte resign?.t. 
 
 G ilia fretus agit ventos et turbida tranat 
 
 nubila, iamque volans apioem et la t era ardua cernit 
 Atlantis duri, caelum qui vertioe fulcit. 
 
 4 Lau. , II, 399-400. 
 
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 H "Atlantis, cinctum adsidue cui nubibus atris i 
 
 piniferum caput et vento pulsatur et imbrij 
 nixjumeros infusa tegit, turn flumina mento 
 praecipitant senis, et glacie riget horrida barba. 
 
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 constitit; hino toto praeceps se corpore ad undas 
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 piscosos scopulos humilis volat aequora iuxta. 
 
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 litus harenosum ad Libyae , vento sque secabat.”^ 
 
 There are several other epic touches in the poem, - the 
 
 comparison of 1 'Esprit to a streak of lightning,® the combination 
 
 of waves and fields of grain in a double comparison,*^ the comparisoji 
 
 of the battering and crashing of la Chair to the fall of a mass of 
 
 Q 
 
 rocks down a mountain, and the gazing of Christ at the battle 
 from a cloud. ^ As on Aeneas' shield the brow of Augustus gleams 
 with his father's star, so on Marguerite may be seen her brother's | 
 
 star.^® Finally the apotheosis of Daphnis is remembered again: j 
 
 ! 
 
 "La le droit chemin tenant 
 Tu es 6 Princesse all^e 
 Ou sous tes pieds maintenant 
 Tu vois la terre avall6e:"ll 
 
 Another poem of Ronsard's in Marguerite's Tombea u is like- 
 wise inspired in part by this same eclogue: 
 
 " Comme les herbes fleuries 
 
 Sont les honrjeuesdes prairies, 
 
 Et des prez les ruisselets, 
 
 De I'orrae la vigne aimee, 
 
 Des bocages la ram^e, 
 
 Des champs les bleds nouvelets; 
 
 Ainsi tu fus, 6 Princesse 
 (Ain^ois plutost oDeesse) 
 
 Tu fus certes tout I’honneur 
 Des Princesses de nostre age, "12 
 
 IV, 338-257. 
 
 II, 394j A^. , VIII, 391. 
 
 II, 393; Aen., VII, 718-720. 
 
 II, 397; XII, 684. 
 
 II, 398; XII, 793. 
 
 II, 401; A^., VIII, 680. 
 
 II, 401-402; Ec. , V, 56-57. 
 
 II, 404-405; E£., V, 32-34. 
 
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52 . 
 
 For such a princess, as for Daphnis, there should not be erected a 
 showy sepulchre, but a flowery tomb in the meadows: 
 
 "Vous pasteurs, que la Garonne 
 D'un demi-tour environne, 
 
 Au milieu de vos prez vers 
 Faites sa t\imbe nouvelle. 
 
 Graves un tableau sue elle 
 Du long cercle de vos vers:"!^ 
 
 Like Daphnis, the princess was the fairest of the fair and should 
 have a beautiful green tomb: 
 
 ”Tous les ans soit recouverte 
 De gazons sa turn be verte, 
 
 Et qu'un ruisseau murmurant 
 Neuf fois resourbant ses ondes, 
 
 De neuf torses vagabondes 
 Aille sa tumbe emmurant . 
 
 On a neighboring cypress tree verses in her honor are to be cut,^^ 
 and yearly offerings are to be made to her: 
 
 "Versez du miel et du lait: 
 
 Et pour annuel office, 
 
 Respandez en sacrifice 
 Le sang d'un blanc aignelet. 
 
 Faites encor a sa gloire 
 
 Mille jeux et mille esbas. . . . 
 
 Several lines of an ode of 1553 are borrowed from lines of 
 
 the first Geo ralo concerning the laws laid by Nature at the time of 
 
 the establishment of the human race from stones: 
 
 "Telles loix la sage Nature 
 Arresta dans ce monde, alors 
 Que Pyrrhe espandoit sus la terre 
 Nos ayeux conceus d'une pierre 
 S'amollissante en nouveaux corps." 
 
 "Continue has leges 
 
 imposuit natura locis, quo tempore primum 
 Deucalion vacuum lapides iactavit in orbem, 
 unde homines nati, durum gens. "17 
 
 II, 405; Ec., V, 42-44. 
 
 II, 406; Ec. , V, 66 , 40; A^. , VI, 439. 
 
 II, 407; Ec., V, 13. 
 
 II, 407; Ec. , V, 67, 58. 
 
 II, 350J Geor . . I, 60-63. 
 
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53 . 
 
 Further Incidents from the Georgies are Astrea’s departure ancl/the i 
 
 discovery by farmers of great piles of bones: If Prometheus had 
 
 not formed mortal hearts of clay as he did 
 
 "Oertainement la vierge Astr^e 
 N'eust point quitte nostre contrde,.. 
 
 On n'eust point emmure les villas 
 Pour crainte des guerres civiles 
 Ny des estranges legions, 
 
 Ny le coutre de Pharsalie 
 
 N'eust hurt4 tant d'os d'ltalie, i 
 
 Ny tant de vuides morions. "18 
 
 Several other lines may also allude to Virgil, - the storm and 
 winds of the Aegean sea; snow, ice, and fir trees on a mountain 
 spohen of as on the back of a man; the ice in streams; and the 
 
 [ 
 
 river by which no one can swear falsely.^® 
 
 Two strophes of the Ode k Monsieur le Dauphin (1555) come i 
 directly from the beginning of the third Georgio : j 
 
 "Que me vaudroit de chanter 
 
 Ces vieilles fables passees, 
 
 Qui ne servent qu'a tenter 
 L' esprit de vaines pensees? 
 
 Qui est celuy qui n'a s^eu 
 De Polops I'ardente flame, 
 
 Le traistre Oenomas decepi, 
 
 Et les nop ces d'Hippodame? 
 
 Ores je veux esprouver 
 
 Autre fable plus nouvelle 
 Que ces vieilles, pour trouver 
 line autre gloire plus belle 
 Qui desja se donne a moy. 
 
 Si jusqu 'aux pays estranges 
 Du fils aisn4 de mon Roy 
 Je veux pousser les louanges." 
 
 "cetera quae vacuas tenuissent carmine mentes, 
 omnia iam volgata: quis aut Eurysthea durum 
 aut inlaudati nescit Busiridis aras? 
 
 18Lau. , 
 l^Lau. , 
 
 _ Aen . , 
 
 cui non dictus Hylas puer et Latonia Delos 
 Hippodameque umaroque Pelops insignis eburno, 
 acer equis? temptanda via est, qua me quoque possim 
 toilers humo victorque virum volitare per ora" ."0 
 II, 353; Geor . . II, 474; I, 489-497. 
 
 II 350, 354; Aen., XII, 365-367; IV, 248-250; Geor . .1.43; 
 - III, - Q. 
 
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54 . 
 
 In this poem, which sings the praises of several members of the 
 royal family, the Arno river personified like the Tiber rises to 
 speak to Jupiter: 
 
 "Mais Arne qui I'entre-vit, 
 
 PousBant I'eau de son espaule. 
 
 Hors des flots la teste mit 
 Ceints de joncs et de saules*. ... 
 
 A tant le flueve plongea 
 Au plus creux de I'eau sa teste. 
 
 The prophetic tone in which the Dauphin is told of his brilliant 
 destiny and of the realms which are to come into his power recalls 
 Anchises' predictions, in Aeneid VI . of the greatness of the Romans 
 under the Caesars: 
 
 "Ainsi qu'a Rome Cesar 
 Triomphant d'une victoire, 
 
 Hault t'assoiras dans un char 
 Dessus un siege d'yvoire" ‘.22 
 
 Like Augustus, the Dauphin will bring peace to his country after 
 closing the temple of war: 
 
 "Puis ayant de toutes pars 
 
 Ferme de cent chaisnes fortes 
 De I'ouvert temple de Mars 
 L 'horrible aoier de cent portes, 
 
 Tu ferae egal aux Dieux 
 Ton regne, et par ta contr6e 
 Fleurir la Paix, et des oieux 
 Revenir la belle Astr^e," 
 
 "aspera turn positis raitesoent saecula bell is; 
 oana Fides et Vesta, Remo cum fratre Quirinus 
 iura dabunt; dirae ferro et compagibus artis 
 claudentur Belli portae; Furor impius intus 
 saeva sedens super arma et centum vinctus aenis^ 
 post tergum nodis freraet horridus ore cruento."23 
 
 Most of the races which, according to the Od^ a Monseigneur 
 le Duo d* Orleans . (1555) Charles is to conquer are among those men- 
 
 SlLau., II, 243-244; , VIII, 31-34; 66-67. 
 
 23Lau., II, 247. 
 
 23Lau., II, 250; Aen . . I, 291-396 and also VI, 852; ^. , IV, 6. 
 
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tioned by Virgil in connection with the wars and conquests of the 
 Romans; 
 
 "Ceux qui sont sous le resveil 
 Du Soleil, 
 
 Ceux qui habita Niphate, 
 
 Ceux qui vont d'un boeuf suant 
 Rem\iant 
 
 Les gras rivages d'Euphrate. . . . 
 
 Et tout oe peuple odorant 
 Demeurant 
 
 Aux sablons de la Sabee: 
 
 Ceux qui ont en bataillant 
 li'arc vaillant^ 
 
 Quand ils sont tournez derriere, 
 
 Et ceux qui toutes saisons 
 Leurs maisons 
 
 Roulent sur une civiere: 
 
 Ceux qui d'un acier mordant 
 Vont tondant 
 
 De Gange les doux rivages, 
 
 Et ceux qui hantent aupres 
 Les forests 
 
 Des vieux Arcades Sauvages: 
 
 Ceux qui vont en labourant 
 Deterrant 
 
 Tant d'oz es champs de Sig4e, . . . . ”34 
 There are several other reminiscences of Virgil in the same poem,- 
 the comparison of the dead prince Charles to a flower beaten by the 
 wind; 
 
 "Comme on vcit .... 
 
 . . . .un lia trop lave 
 Agrave 
 
 D 'unepluyeuse tempeste 
 
 Ou trop fort du chaud atteint 
 Perdre teint, 
 
 Et languir a basse teste 
 
 2"^Lau.,II, 255; for the Orient cf. Geor « . Ill . 30; Aen . .VI .798; VIII^ 
 705-706; the Niphates, Geor . . Ill, 30; the Sabaeans, Geor . . 1,57, 
 II, 117; Aen . . Wiy.^70Q; the Parthians, Geor . .Ill . 31, the Africans 
 who carry their homes, Geor . . Ill, 344-345; the inhabitants of the 
 Ganges. Geor . . Ill, 27; the Arcadians. Aen . . VIII, 159 and passim ; 
 and those who dig up bones. Geor . .1 . 497. 
 
 25Lau., II, 251; A^. , IX, 436-437. 
 

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56 . 
 
 youth indicated by appearance of golden down on the prince's face: 
 
 "A peine un poll blondelet^ 
 
 Nouvelet , 
 
 Autour de sa bouche tendre 
 A se frizer commen^oit , "26 
 
 and the picture of Charon: 
 
 "Et le Nocher importun 
 Un chacun 
 
 Presse en sa nacelle courbe^ 
 
 Et sans honneur a la fois 
 Met lea Rois 
 
 Pesle-mesle avec la touiabe."27 
 
 The ode, Magie ou Delivrance d* Amour (1584) at times brings 
 
 to mind the song of Alphesiboeus in the eighth Eclogue and also 
 
 Dido's sacrifices for love. The lover who is offering the sacrifice 
 
 must be loose girdled like Dido. She burns incense, pours out 
 
 water, sets fire to a tree, and scatters salt. Finally she gathers 
 
 all the presents of her former friend in order to destroy them. 28 
 
 The idea of the greater part of the Ode a Diane de Poitiers (1555) 
 
 is inspired from a passage in Aeneid VIII in which the god of the 
 
 Tiber gives instructions to Aeneas and tells him of the future 
 
 greatness of his race. In Ronsard the Clain river speaks to one of 
 
 the members of the house of Poitiers telling him where to go and 
 
 29 
 
 mentioning hie famous descendants. 
 
 ^^Lau., II, 251; Aen. , X, 324. 
 
 2"Lau., II, 253; Aon*, VI, 315-316. 
 
 28Lau., II, 457-459; ^. , IV, 518; Ec . , VIII, 65, 64, 82. Aen . . 
 
 IV ^12 fSOy-fTHfi 
 
 29Lau., vi, 238-239; Aen., VIII, 30-66. 
 

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57 . 
 
 AMOURS, ELEGIES, BOCAGES, POEMES, DIS- 
 COURS, EPITAPHES, HYWNES, TRADUCTIONS EN VERS 
 
 Very few of the sonnets are inspired entirely by Virgil, 
 
 although there are many reminiscences of him in them. A sonnet of 
 
 1552 in which Ronsard pictures himself as a Corydon alone in the 
 
 woods recounting his love sorrows has a Virgilian picture of spring 
 
 "Or *que Jupin espoint de sa setnenc© 
 
 Veut enfanter see enfans bien-aimez, 
 
 Et que du chaud de ses reins allumez 
 L’humide sein de Junon ©nsemencei 
 Or 'que la mer, or 'que la vehemence 
 
 Des vents fait place aux grans vaisseaux armez, 
 
 Et que I'oiseau parmi les bois ramez, 
 
 Du Thracien les tan^ons recommence: 
 
 Or 'que les prez et ore que les fleurs 
 De mills et mille et de mills couleurs 
 Peignent le sein de la terra si gaye, 
 
 Seiil et pensif aux rochers plus segrets 
 D'un coeur must je conte mes regrets, 
 
 Et par les bois je vay celant ma play."^ 
 
 Another sonnet of 1552 gives a picture of summer as des- 
 cribed in the Georgj cs i 
 
 "Non la chaleur de la terra qui fume 
 
 Aux jours d'Este luy crevassant le front: 
 
 Non 1 'Avant-chien, qui tarit jusqu'au fond 
 Les tiedes ©aux, qu'ardant de soif il hums: 
 
 Non c© flambeau qui tout ce monde allume 
 D'un bluetter qui lentement se f ond: 
 
 The first quatrain of the sonnet 
 
 "Je m'asseuroy qu'au ohangement des cieux, 
 Cet an nouveau romproit ma destines, 
 
 Et que sa trace en serpent retournee 
 Adouciroit mon travail soucieux: " (l552) 
 
 has two Virgilian concepts, - that of the year being 
 changes of the constellation and of the year turning 
 
 ushered in by 
 
 back on itself 
 
 3 
 
 G0or.,II,325-328; Aen. , IV, 309-310; ^.,III, 56-57; II 
 4-5. For the Latin of the first Virgilian citation see note 32, 
 section A. 
 
 2 
 
 Lau.,I, 59; Geqr . , II, 353; IV, 435-428. 
 
 Lau., I, 90; Geor . . 217-218; II, 402. 
 
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58 . 
 
 The source of the quatrains of still another sonnet of 1552 is the 
 end of the fourth Georglo: 
 
 Lore 4 u il trenchoit d'un bras viotorieux 
 Au bord du Rhin I'Espagnole vaillance, 
 
 Ja se tra^ant de I'aigu de sa lance 
 Un beau sentier pour s'en aller aux cieux." 
 
 "Haec .... canebam 
 . . . .Caesar dum magnus ad altum 
 fulminat Euphraten bello victorque volentis 
 
 Dido's denunciation of Aeneas > when he is about to desert her is 
 recalled in this invective against Cupid: 
 
 "Amour, qul_conque ait dit qua le ciel fut ton pere, 
 £t que la Cyprienne en ses fiance te porta, 
 
 11 trompa les humains, un Dieu ne t'enfanta: 
 
 Tu n'est pas fils du ciel, Venus n'est pas ta mere. 
 Des champs Massyliens la plus cruelle Fere 
 
 Luna, who, as is mentioned in Virgil, was enticed by the snowy 
 fleece of Pan is addressed in a tercet of 1554: 
 
 "Tu sgais, Lune, que peut I'amoureuse poison: 
 
 Le Dieu Pan pour le prix d'une blanche toison 
 Peut bien flechir ton ooeur."6 
 
 The beginning of the sonnet: 
 
 "Dieux, si au Ciel demeure la pi tie 
 
 En ma favour que maintenant on jette 
 Du feu vangeur la meurtriere sagette. 
 
 Pour d'un mauvais punir la mauvaistie: " (1553)7 
 
 is similar to the words of Priam denouncing Pyrrhus. Several of 
 the sonnets addressed to the various kings eulogize them as Augustus 
 
 4Lau., I, 124; Geor . . IV, 559-562. 
 SLau., I, 143; Aen . . IV, 365-367, 379. 
 SLau., I, 149; Geor . . Ill, 391-393. 
 7Lau., I, 350; ien . , II, 535-538. 
 
 "J 'alloy roulant ces larmes de mes yaux 
 Or 'pi 
 
 Lors que Henry loing des bornes de France 
 eoit I'honneur de ses premiers ayeux: 
 
 per populos dat iura viamque adfectat Olympo."^ 
 
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59 . 
 
 Caesar was eulogized by Virgil. The sonnet au rov Henry III (1578) 
 gives a pretensions enumeration of the lands to be conquered by 
 that monarch, after which conquest the Temple of War will be closed 
 and Peace and Justice will reign. 8 The sonnet aiu Roy Francois 
 
 (1560) has a like theme and closes with a translation of a line of 
 the Aeneid : 
 
 "Mais pardonne au veincu, et donte le rebelle." 
 
 "parcere subiectis et debellare superbos."® 
 
 The sonnet Audit S, ^ Beaumont (l552) is inspired from the fourth 
 Eclogue : 
 
 ”Jeune Herculin, qui dee le ventre saint 
 Fut destine pour le commun service, 
 
 Et qui naissant rompis la teste au vice 
 Par ton beau nora dedans les Astres peint; 
 
 Quand I'age d'homme aura ton coeur attaint, 
 
 S'il reate encor quelque trac de malice, 
 
 Le monde adonc ploye sous ta police 
 Le pourra voir total ement esteint. 
 
 En ce-pendant orois enfant et prospers, 
 
 Et sage, appren les hauts faits de ton pere, 
 
 Et ses vertus, et les honneurs des Rois. 
 
 Puis autre Hector tu courras a la guerre. 
 
 Autre Jason rameras pour conquerre 
 
 Non la Toison, mais les champs Navarrois.” 
 
 "iam nova progenies caelo demittitur alto, 
 tu modo nascent! puero, quo ferrea primum 
 desinet ac toto surget gens aurea mundo,..., 
 hinc ubi iam firmata virum te feoerit aetas,... 
 
 ... si qua manent sceleris vestigia nostri, 
 
 inrita perpetua solvent formidine terras 
 
 at simul heroum laudes et facta parentis 
 
 iam legere et quae sit poteris cognoscere virtus. . . . 
 
 alter erit Tiphys, et altera quae vehat Argo 
 
 deleotos heroas; erunt etiam altera bella 
 
 atque itorum ad Troiam magnus mittetur Achilles. "10 
 
 SLau., II, 1; Aen . , VI, 792-805; 851-852; I, 294. 
 
 ^Lau., II, 8; , VI, 853. 
 
 lOLau., II, 22; , IV, 7-9, 37, 13-14, 26-27, 34-36. 
 
60 
 
 The Voyage ^ Tours (1560), which describes with pastoral 
 setting the trip made by Ronsard and Baif to see their mistresses, 
 has parallels for a number of passages of the Eclogues . Perrot 
 sings to his mistress that he would like to live, unknown to the 
 world, alone with her in the meadows, even as Gallus would give up 
 his fame for simple pastoral life: 
 
 "Puis sur le chaud du jour je veux en ton giron 
 
 Me couoher sous un chesne." 
 
 "Mecum inter salioes lenta sub vite iaceret."^! 
 
 "Contents seulement de t 'aimer et te voir 
 
 Je passerois mon age," ^ 
 
 hie ipso tecum consumerer aevo."^^ 
 
 Thoinet has a gift of wood-pigeons for his mistress, which, he says, 
 Margot has been trying to win from him.^® He has also gathered 
 many flowers for her.^^ He consults a prophetess when his love pays 
 no attention to him. ^5 Expressions corresponding to the comparison 
 of a character to a pine tree, the declaration that the cold lover 
 has been nursed by a tigress, the beginning of the description of 
 April "quand tout arbre florit" and of a vine enlacing a tree are 
 also to be found in Virgil. ^6 At the end of his song Thoinet in 
 despair like Damon, declares he must plunge into the waves. 17 
 
 llLau., I, 170; Ec.. X, 40. Lavimonier (VII, 192) says that the pas- 
 
 sage is imitated from Naugerius, but Virgil was probably in mind 
 also. 
 
 ^"Lau., I, 170', Ec., X, 43. 
 l^Lau., I, 165; Ec . , II, 43; III, 69. 
 iJLau., I, 165-166; ^. , II, 45-49. 
 lOLau., I, 163; Ajn . , IV, 483. 
 
 1^2, 163, 167; ^., VII, 65; ^. , IV, 367; Ec., Ill, 
 
 56; Geor . . II, 221. — ' 
 
 •‘‘^Lau., I, 166; , VIII, 59-60. 
 
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61 . 
 
 A passage from the Elegie en forme d' invective (1569) 
 
 imitates another time the latter part of the second Goorgic where 
 
 the bliss of country life in contrast to city life is described. 
 
 ”Heureux oeluy qui du coutre renverse 
 Son gras gueret d'une peine diverse, 
 
 Tantost semant, labourant et cueillant, 
 
 D6s le matin, jusqu'au soir travaillant 
 
 Si tant d'orgueil autour de luy n'habite. 
 
 Si tant de biens qui s'esooulent si viste, 
 
 A tout le moins il loge en sa maison 
 Moins de faveur, et beaucoup de raison, 
 
 Dont il gouverne en repos sa famille. 
 
 Loin du Palais, du Prince et de la ville;'*18 
 
 In the El egle & Muret (1553) the achievements of Hercules are enumer 
 
 19 
 
 ated as in Aeneid VIII. 
 
 An elegy of 1561 repeats the comparison of a person who 
 
 dies early in life to a lily beaten down by the rain: 
 
 "Ny plus ny moins qu'en un jardin fleury 
 Meurt un beau Liz, quand la pluye pesante 
 Aggrave en bas sa teste languissante, "SO 
 
 There is also the comparison of a wife’s grief at the death of her 
 
 husband to that of a turtle dove for its mate. This is inspired 
 
 by the comparison of Orpheus’ grief to the mourning of a nightingale 
 
 which has lost her brood: 
 
 "... .ainsi 
 
 Qu’on voit au bois la veufve Tourterelle, 
 
 Ayant perdu sa compagne fidelle: 
 
 Jamais un autre elle ne veut ohoisir,.... 
 
 Ny pr4 ny bois son regret ne console, 
 
 Et d’arbre en arbre au poinct du jour ne vole, 
 
 Ains se cachant dedans les lieux secrets, 
 
 Seulette aux vents raconte ses regrets, 
 
 Se paiet de sable, et sans amy se branche 
 En souspirant^ sur une seiche branche."21 ' 
 
 ^®Lau. 
 
 ISLau. 
 
 20Lau. 
 
 2lLau. 
 
 IV, 149; Geor. , II, 458-465, 467, 513, 516. 
 I, 113-113; Aen . . VIII, 288-300. 
 
 V, 18; Aen., IX, 435-437. 
 
 V, 19 ; Geor., IV, Si 1-515. 
 
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62 . 
 
 The poem L 'Orphe 'e en forme d’Elegie (1563) begins in true 
 epic fashion: 
 
 "Je chante ici, de Bray, les antiques faits d’armes 
 Et les premiers combats de ces nobles gend' armes, 
 
 and introduces a description of time like many of Virgil's: 
 
 "II estoit presque nuict, et Vesper qui venoit. 
 
 Dosja le grand troupeau des Astres amenoit,"23 
 
 The journey of Jupiter and Thetis to the cave of Chiron is recount- 
 ed, where 
 
 "Apres que le desir de manger fust oste, 
 
 Et que le vin dernier par ordre fust gouste,"24 
 
 Chiron rises to address a song to his distinguished visitors, after 
 
 which Orpheus sings of his wife Eurydice. The greater part of this 
 song is imitated directly from the story of Orpheus and Eurydice as | 
 told by Proteus to Aristaeus in the fourth Georgic : 
 
 A "Un jour qu'elle fuyoit I'amoureux Aristee 
 Le long d'une prairie, en un val escart4e, 
 
 Elle fut d'un Serpent qui vers elle accourut, 
 
 Morse dans le talon, dont la pauvre mourut. 
 
 B Apres que le troupeau des Nymfes I'eut gemie, 
 Clochante elle descend touts palle et blesmie 
 C La bas dans les Enfers: et moy sons un rocher 
 Voyant le Soleil poindre et le voyant coucher. 
 
 Sans oesse je pleurois, soulageant sur ma Lyre, 
 Bien que ce fust en vain, mon amoureux martyre. 
 
 A la fin desireux de retrouver mon bien, 
 
 D Desespere je saute au creux Tenarien, 
 
 E J'entray dans le bocage effroyable de crainte; 
 
 F Je vy les Manes vains qui ne volent qu'en feinte, 
 Et le cruel Pluton des horames redout^, 
 
 Et sa femme impiteuse assise a son costs, 
 
 Dure fiere rebelle impudente inhumaine, 
 
 G Dont le coeur n'est flechi par la priere humaine;" 
 
 A "ilia quidem, dum te (=Aristaeum) fugeret per flumina praec€|j 
 immanem ante pedes hydrum moritura puella 
 servantem ripas alta non vidit in herba. 
 
 PS 
 
 22Lau., IV, 77; Aen. , I, 1. 
 
 :*3Lau., IV, 77; Aen. . IV, 532-524, III, 14T. 
 2Uau., IV, 79; Aen. ,1,216, 723-724, 740-741. 
 

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63 . 
 
 B at chorus aequalis Dryadum cl amor e supremos 
 
 implerunt montis; 
 
 C ipse cava Solans aegrum testudine amorem 
 
 te, dulcis coniunx, te solo in litore secum, 
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 F ingressus, manisque adiit regemque tremendum 
 Gr nesciaque humanis precibus mansuescere corda.”^^ 
 
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 have been the answer of Aeneas’ priestess guide to Acheron's ex- 
 pression of fear at the sight of Aeneas: 
 
 "Je ne viens pas ici pour enchaisner Cerbere, 
 
 Ni pour voir les cheveus de 1 'horrible Megere:"^® 
 
 After his speech the spirits gather around him, as numerous as hail 
 
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 storm) : 
 
 "Falsant telle oraison, les ames sont venues 
 Ainsi que gresillons greslettes et menues, 
 
 Pepier a I'entour de mon Luth qui sonnoit 
 Et de son chant piteux les manes estonnoit . "27 
 
 After hie wife had been restored to him, Orpheus starts his return 
 
 to the upper air: 
 
 A "ja presque j'avois 
 
 Passe le port d'Enfer, les rives et le bois, 
 
 & Quand, Iasi veincu d' amour je regarde en arriere, 
 
 Et mal-caut je jettay sur elle ma lumiere, 
 
 C Faute assez pardonnable en amour, si Pluton 
 Sgavoit helas.’ que c’est que de fairs pardon. 
 
 D La mon labour fut vain e'escoulant en rises, 
 
 E La du cruel Tyran la pache fut brisee: 
 
 Je voulois I'embrasser, quand sa piteuse vois 
 F Comme venant de loin J'entendi par trois fois: 
 
 0 Quel malheureux destin nous perd tous deux ensemble? 
 H Quelle fureur d' amour nostre amour des-assemble? 
 
 Pour m'estre trop piteux tu m'as est^ cruel, 
 
 Adieu mon cher espoux d'un adieu eternel: 
 
 1 Le destin me r'appelle en ma place ancienne, 
 
 J Et mes yeux vont nouant dedans I’eau Stygienne. 
 
 K Or adieu mon ami! je re-meurs de rechef. 
 
 35Lau. , IV, 83jGeo£. , IV, 457 - 461, 464-470 . Others have told the story of 
 Orpheus (notably Ovid), but this beginning and the following passage* 
 follow the Virgil ian version very closely. 
 
 a gLau 1 1 
 
 27Lau., IV, 85; Geor . . IV, 471-474, 481. 
 

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64 . 
 
 L "Une nuict ombrageuse environne mon ohef. 
 
 M Par trois fois rotourne je la voulu reprendre, 
 
 Et 1 'ombre par trois fois ne me voulut attendre 
 N Se desrobant de moy, et s'envola devant 
 0 Comme un leger festu s'en-vole par le vent. 
 
 PQ Helas, qu'eu8s6-Je fait? de quelle autre priere 
 Eusse- je^lflecbir Proserpine si fiere? 
 
 R Ma pauvre femme estoit deja de 1 'autre ibord.' 
 
 S Et le nocher d'Enfer ne m'offroit plus le port, 
 
 T Je fus sept mois entiers sous un rocher de Tnrace, 
 
 Pres du fleuve Strymon couche centre la place, 
 
 U Pleurant sans nul confort, et souspirant dequoy 
 Je n'estois retourne la demander au Roy." 
 
 A "iamque pedem referens casus evaserat omnis, 
 redditaque Eurydioe superas veniebat ad auras, 
 pone sequens (namque hanc dederat Proserpina legem), 
 cum subita incautum dementia cepit amantem, 
 
 O' ignoscenda quidem, scirent si cognoscere Manes: 
 restitit, Eurydicenque suam iam luce sub ipsa 
 B immemor heu,' victusque anirai respexit. ibi omnis 
 DE effusus labor atque immitls rupta tyranni 
 F foedera, terque fragor stagnis auditus Avernis. 
 
 G ilia 'quis et me' inquit 'miseram et te perdidit^ Orpheu, 
 HI quis tantus furor? en iterum crudelia retro 
 J fata vacant conditque natantia lumina somnus. 
 
 KL iamque vale: feror ingen ti circumdata nocte 
 
 invalidasque tibi tendens, heui non tua, palmas. ' 
 
 NO dixit et ex ooulis subito, ceu fumus in auras 
 N coramixtus tenuis, fugit diversa, neque ilium 
 M prensantem nequlquam umbras et multa volentem 
 S dicere praeterea vidit; nec portitor Orel 
 araplius obiectam passus transire paludem. 
 
 P quid faceret? quo se rapta bis coniuge ferret? 
 
 Q quo fletu manis, quae numina voce moveret? 
 
 R ilia quidem Stygia nabat iam frigida cumba. 
 
 T septem illwn totos perbibent exj^rdine mensis 
 rupe sub aeria deserti ad Strymonis undam 
 U flevisse, et gelidis haec evolvisse sub antris,"'^ 
 
 Txie Ronsard passage is, therefore, almost a translation of Virgil 
 
 except for the fact that the third person is used by Virgil, This 
 
 fact necessitates a change in the end of the French poem, since 
 
 Orpheus dould not very well sing of his being torn to pieces, which 
 
 fate is his in Virgil, 
 
 Several stanzas of a poem addressed to Charles IX in the 
 
 28 Lau. , 
 
 IV, 85-86; Geor . , IV, 485-509. 
 
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Bocage Royal (1565) are inspired by the lines in the fourth Eclogue 
 
 where Virgil wishes for length of days to write of the deeds of his 
 so-called Messiah: 
 
 "Ah! si je puis jusqu'a tel age vivre 
 Que VOS combats ma plume puisse suivre. 
 
 Tout au milieu de vos assauts divers, 
 
 Fifres, tabours, je chanteray mes vers 
 A I'envy d’eux, si bien qu'on pourra dire 
 Que VOS canons feront place a ma Lyre. 
 
 Alors d’Aurat qu 'Apollon a nourry, 
 
 Belleau qui est des Muses tant chery, 
 
 Ne me vaincront, non pas Apollon mesme: 
 
 Car plein d'ardeur et d'une envie extreme 
 De bien chanter, comme tout furieux 
 Vostre beau nom j'envoiray jusqu'aux Dieux." 
 
 "0 mihi turn longae maneat pars ultima vitae, 
 spiritus et, quantum sat erit tua dicere facta: 
 non me carminibus vincet nec Thrasius Orpheus, 
 nec Linus, huic mater quamvis atque huic pater adsit, 
 Orphei Calliopea, Lino formosus Apollo. "29 
 
 One of the frequent comparisons of the French king to Augustus oc- 
 curs in this poem. 
 
 The poem entitled 1 'Hvlas (1569) is written in praise of 
 Hercules for the good he did to Frenchmen as in Aenei d VIII, 288-300 . 
 Evander's bards sang of Hercules for his killing of Cacus. In the 
 poem there is a close imitation of the description of the spinning 
 nymphs in the fourth Georgic . althou^ their names are changed: 
 
 "Pres de la Nynfe au plus profond des ondes 
 Estoit Antrine aux belles tresses blondes, 
 
 Et Azurine aux tetins descouverts, 
 
 Verdine, Ondine, et Bordine aux yeux verts, 
 
 L'une des deux estoit encor pucelle, 
 
 Et 1 'autre avoit du laict en la mammelle, 
 
 Et de Lucine en la fleur de ses ans 
 Avoit senti les traits doux et cuisans, 
 
 Qui devuidoyent les toisons Tyriennes 
 Teintes au sang des huistres Indiennes."^ 
 
 29Lau., Ill, 241; , IV, 53-57. 
 
 30Lau., V, 128; Geor . . IV, 334-340. 
 

 
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66 . 
 
 Reference to the reechoing of the shores with the cry of Hylas is 
 found in this poem as well a s in the sixth Eclogue . 
 
 The poem Les Isles fortunees (1553) begins with a descrip- 
 tion of the wars of Europe which is in part like the description in 
 Georgies of the Roman state at the time of Caesar's death: 
 
 "Puis que I'on voit tant de foudres aux cieux 
 En temps serain, puis que tant de Cometes, 
 
 Tant de chevrons, tant d 'horribles planetes 
 Nous menacer: puis qu'au milieu de I'aer 
 On voit si dru tant de flames voler. 
 
 Puis trebucher de glissades roulantes: 
 
 Puis que I'on voit tant d'esprits solitaires 
 Nous effroyer, et qu'on oit tant d'oiseaux 
 D'un vilain cry presagier les maux...."32 
 
 Ronsard and Muret plan to leave this tumultuous world for a more 
 
 peaceful shore. The crowd which surrounds their boat as they are 
 
 about to depart is like the throng on the banks of the Cooytus 
 
 waiting to be ferried across by Charon: 
 
 "....regarde quelle presse 
 Dessus le bord joyeuse nous attend 
 Pour la conduire, et ses bras nous estend, 
 
 Et devers nous toute courbe s'encline, 
 
 Et de la teste en criant nous fait sine 
 De la passer dedans nostre bateaul"33 
 
 The Utopian lands whither the poet and his friend sail are never 
 
 ploughed, for the earth of itself brings forth bountiful supplies. 
 
 There, avarice has not put limits to the fields, nor are pines cut 
 
 in order to sail to other lands, nor do dragons, comets, earthquakes 
 
 frighten the people. The land is also free from war: 
 
 "La sans navrer comme icy nostre ayeule 
 Du soc aigu, prodigue, toute seule 
 Fera germer en joyeuses forets 
 Parmy les champs les presens de Ceres. . . . 
 
 3lLau., V, 130; ES.* > * 43-44. 
 
 32Lau., V, 158; VII, 488; Geor . . I, 487-488,474-475,477-478,470. 
 33Lau., V, 158-159; Aen . . VI, 305, 313-314. 
 

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67 , 
 
 "La comme icy 1 'avarice n'a pae 
 Borne les champs ny d'un effort de bras 
 Avec grand bruit, les pins on ne renverse 
 Pour aller voir d'une longue traverse 
 Quelquo autre monde;..,." etc. 34 
 
 The description of the "Fcrtunata Nemora" is also used for some of 
 the details - the venerable old man in the white robe, the sports 
 of the men, and Muret depicted as towering above the rest: 
 
 "La venerable en une robe blanche, 
 
 Et couronne la teste d'une branche 
 Ou de Laurier, ou d'Olivier retors, .... 
 
 La tous huilez les uns sur les sablons 
 Iront luitant, les autre s aux balons 
 Dessus lee prez d'\ine partie egale 
 Courront ensemble, et jou'ront a la bale: 
 
 L'un doucement a 1 'autre escrimera, 
 
 Tu paroitras des espaules un Dieu 
 Les surpassant" : . . . .35 
 
 Even the woodland creatures will know the songs of bards on those 
 far off shores: 
 
 "...les Sylvains amoureux des Naiades 
 Sqavront par ooeur les accents de ta vois 
 Pour les apprendre aux rochers et aux bois,"^® 
 
 The Discours a Qdet de Colligny , Cardinal de Chastillon 
 (1560) contains a series of comparisons all of which are found in 
 Virgil. They are introduced as pictures of the mutability of 
 nature and of the uncertainty of things; 
 
 "Comme un arbre plant6 sur les monts solitaires 
 Battu diversement de deux vents tout~contraires, 
 
 L'un le souffle de^Ujet 1 'autre derechef 
 Le resouffle dela, les feuilles de eon chef 
 Volent de tous oostez, qui jusqu'en terre ondoye.... 
 
 Ou comme on voit les bleds espessements plantez 
 Branler au mo is de May leurs tuyeaux esvantez, 
 
 De^a dela pliez sous le vent de Zephyre, 
 
 Ou sous I'Austre molteux: l'un a gauche les vire, 
 
 L'autre les soufle a dextre, et poussez en avant 
 
 34Lau.,V, 159-160; Ec* »IV>18-20 ,24,38, 40-41; Geor.,1, 125-127,136. 
 35Lau.,V, 161,162,163; Aen. . VI, 645-647, 642-643; 651, 667-668. 
 36Lau., V, 162; VI, 27-28. 
 
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 "Et poussez en arriere obeissant au vent: 
 
 Ou comme un tourbillon qui chased ‘du tonnerre... 
 
 Puis venteux et poudreux s'eslance dans la mer, 
 
 Et fait I'un dessus 1 'autre horriblement armer 
 Lee flots qui maintenant aux estoiles s'egalent 
 Malntenant Jusqu'au fond de I’arene devalent."^^ 
 
 The fickleness of fate should be resisted 
 
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 Et ses pieds endurcis aux flots de la tempeste,"^® 
 
 The same poem has another imitation, rather free, of one of Ronsard'a 
 
 favorite Virgilian passages, - that of the bliss of country life in 
 
 comparison with city life.^^ Ronsard, like Virgil, expresses his 
 
 preference for the country: 
 
 "Quant a moy, j 'airae mieux ne manger que du pain, 
 
 Et boire d'un ruisseau puis^ dedans la main, 
 
 Sauter ou m'endormir sur la belle verdure, 
 
 Ou composer des vers pres d'une eau qui murmur e. 
 
 Voir les Muses bailer dans un antre de nuit,...."^ 
 
 The first Pi scours a 1^ Rovne (1562) in the Discours des 
 Miseres de ce temps describes conditions in France as they were at 
 Rome at the time of Caesar's death. Dire comets appear and the 
 Seine overflows as portents of what is to come: 
 
 "....Seine qui oouroit d'une vague effrenee, 
 
 Et bestail et pasteurs et maisons ravissoit, 
 
 De son malheur futur Paris avertissoit , 
 
 Winged Opinion rioting through France^S causes brother to fight 
 
 brother's and the farmer to forge his sickle into a dagger: 
 
 3?Lau., V, 181; Aen . .IV. 441-444; Qeor . .Ill . 196-199; Aen . . II, 416- 
 419; I, 107; Oeor . . Ill, 200. 
 
 2®Lau., V, 182; ^. , VII , 586-589. 
 
 39Lau. , V, 182-183; "Heureux donques heureux"throayh''servement achet6"j 
 , Geor . . II, 458-473, 490-512. 
 
 ^Lau., V, 183; Geor., II, 475-476 , 485-489. 
 
 JjLau., V, 332-333; Geor . . I, 488-490, 481-483, 464-465. 
 
 ^JLau., V, 334; Aen., IV, 173, 666. 
 
 "*^Lau., V, 334; Geor . , I, 490. 
 
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 ” . . . .de sa faulx tortile 
 Le laboureur faconne une dague pointue, 
 
 Une pique guerriere il fait de son rateau, 
 
 Et I'acier de son ooultre il change en un oouteau. . . . 
 
 Le desir^ 1 'avari ce et 1‘erreur insense 
 Ont sans dessus dessous le monde renvers4.<- 
 Au Ciel est revolve et Justice et R&«iaon."44 
 
 Everywhere rages the god of sbril^ even as a horse which will not 
 
 obey its master: 
 
 "Tout va de pis en pis: le sujet a brise 
 Le serment qu'il devoit k son Roy mespris^: 
 
 Mara enfl6 do faux zele et de vaine apparance, 
 
 Ainsi qu'une furie agite nostre France: 
 
 Qui farouche a son Prince opiniastre suit 
 L'erreur d’un estrangor, et folle se destruit. 
 
 Tel voit-on le Poulain dont la bouche trop forte 
 Par bois et par rochers son escuyer emporte, 
 
 Et maugre I'esperon la houasine et la main 
 Se gourmer de sa bride et n'obeir au frein: 
 
 Ainsi la France court en armes divis^e, 
 
 Depuis que la Raison n*est plus autorisde, 
 
 But the queen like the Virgil ian shepherd stopping the war of his 
 
 bees may restore order in the nation: 
 
 "Imitant le pasteur, qui voyant les armies 
 Des Abeilles voUer au combat anim^es, 
 
 Et par I'air a raonceaux espaisses se raer, 
 
 Se percer se piquer se navrer se tuer, 
 
 Puis comrne tourbillons se meslant pesle-mesle . . . 
 
 Portant un gentil coeur dedans un petit corps, 
 
 Il verse sur leurs camps un peu de poudre: et lore 
 
 De ces soudars ailez le pasteur a son aise 
 
 Pour un peu de sablon tant de noises appaise."^® 
 
 At the end there is an appeal to God to permit the queen to appease 
 
 the strife, just as Tirgil prays that Augustus may be granted power 
 
 to aid a world overturned: 
 
 "0 Dieu 
 
 Donne (je te suppli) que cesta Royne mere 
 Puisse de ces deux - camps appaiser la colere."^” 
 
 44Lau., V, 334; Geor . . I, 506-508, 505; II, 474. 
 
 45Lau., V, 335; Geor . . I, 510-514. 
 
 46Lau., V, 335; Geor . . IV, 67-87. 
 
 ^"^Lau., V, 336; Geor . . I, 498-501. 
 

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70. 
 
 In the Epitaphe de Claude de 1 * Aubeepine (1571) I'Aubes- 
 pine (who is compared to a flower beaten down by a storm , Aen.IX. 
 435-437) is mourned for by a Dryad like the mother of Daphnis or 
 Euryalus: 
 
 ”Et consommant de tristesse son ame, 
 
 D’ongles poinctus sa poitrine elle entame, 
 
 Et frappant I'air da cris oontinuels, 
 
 Nomme les Dieux et les Astres cruels, 
 
 Rorapt ses ohevaux, et de fureur attaints 
 Contra la Mort poussa telle complaints. .. 
 
 She laments that she has outlived the dead youth, whose premature 
 
 death is figuratively described with expressions found in the 
 
 Georgies : 
 
 ”Las. oisillons dedans leur nid sans plume 
 Par les Pasteurs ont ainsi de coustume 
 Estre ravis, aincois que leurs beaux sons 
 Soient entendus de buissons en buissons. 
 
 Ainsi voit-on sous la tempests dure 
 Les bleds verses en leur jsune verdure, 
 
 Et sans espoir contra terre accropis 
 Ains que le ohaut ait meury leurs espis."^® 
 
 Like Orpheus she would go to the underworld and move its ruler to 
 
 permit her to see her husband,^ She would even give her life for 
 
 his: 
 
 "Tu fus premierSjet seconds je suis, 
 
 Qui ne craindrois sous les ombres descendre 
 Si par ma mort vif je le pouvois rendre. 
 
 Toy trespassant, pour mon mal appaiser 
 Je r’ammassay do ta bouche un baiser, 
 
 Qui re spirant sur ta levre mourante 
 Erroit encor d'une haleine odorant e." 51 
 
 All nature weeps at the death of Aubespine as it did at Daphnis*. 
 
 The sorrow-stricken are compared like Orpheus to the nightingale 
 
 which mourns for her brood: 
 
 48Lau.V,298; ^,,V,23j Aen . .IX. 477-480 or the Trojan women Aen >I . 
 
 480-481 . 
 
 49Lau.,V,299, Gopr . , IV, 512-513; I,316-320;.III, 196-199. 
 gDLau.,V, 299,Geor., IV, 467 ff. 
 
 ^^Lau..V. 300; Aen.. XI. 162-163 : IV. 684-685. 
 
 52Lau., V, 300-301; V, 26-27. 
 
I 
 
 
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71 . 
 
 "Nous ressemblons a ces rossignolets, 
 
 Qui retournant trouvent leurs nids seulets 
 Estant allez oheroher quelque bech^e 
 Loin du taillis pour nourir leur niches, 
 
 Qus le Pasteur de ses ongles courbez 
 Cruellement sans plume a desrohez. 
 
 De 9 ^ dela d'une complainte aigue 
 Er](grosse voix, en longue et en menue 
 Entrecoupant I'haleine de leurs chants 
 Et jour et nuit par les fueilles nouvelles 
 En gemissant redoublent leurs qaerelles."53 
 
 The Epitaph de Hugues Sal el (1554) , in its description of 
 the other world, at times recalls the "^rtunaUNemora" of the Aeneid 
 and the Golden Age of the fourth Eclogue « especially in the follow- 
 ing lines: 
 
 "L'un luitte sur le sable, et 1 ’autre a I'escart saute 
 Et fait bondir la bale, ou 1 'herbs est la moins haute. 
 
 La Orphe habill^ d'un long surpdis blanc 
 Centre quelque laurier se reposant le flanc 
 Tient sa lyre cornue, et d'une douce aubade, 
 
 En rond parmy les prez fait dancer la brigade.... 
 
 La le boeuf laboureur d'un col morne et lasse 
 Ne reports au logis le coutre renverse^ 
 
 Et la le marinier d'avirons n' importune 
 
 Charg4 de lingos d'or, I'eschine de Neptune: ... "54 
 
 L 'Hynne do KLlux et de Castor a Caspar de Collignv (1556) 
 begins with an epic comparison of its author to thunder which is 
 followed soon after by a description of a sea storm. The first 
 part of the poem is addressed to Pollux and tells of his adventure 
 on the expedition of the Argonauts. A scout sent from the Argo 
 to explore the Bebrycian land where the ship is anchored meets 
 a sorry individual similar to the one seen by Aeneas on the shores 
 of Sicily; 
 
 53 
 
 Lau., V, 301; Geqr., IV, 511-515. 
 
 54Lau., VI, 213; A^. , VI, 642-647; , IV, 38-41. 
 
 55Lau., IV, 277-278; Aen., VIII, 391; I, 85, 86, 104-105, 87, 123, 
 90, 89. These passages are not very close to Virgil. 
 
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72 
 
 "Sa bouohe de long jeun pallissoit affamee, 
 
 Sa barbe s’avalloit d*un poll rude at crasseux,... 
 
 Et pour habillecient luy pendoit des eschines 
 Les lambeaux d'un haillon tout recousu d'espines." 
 
 ”....macie confecta suprema, 
 
 ....dira inluvies, imraiBsaaue barba, 
 consertum tegumen spinis;"^® 
 
 The wretched sailor in weeping declares that the sailors should flee 
 while they have the chance, 57 for the inhabitants of the country 
 are like the Aetnean Cyclops who pursued the abandoned Greek of the 
 Aeneid : 
 
 "Comme les Etneans, engence abominable, 
 
 Soit de nuict soit de Jour errent dessus le sable 
 Du iord Sicilien, a fin de regarder 
 Si I'orage d'hyver fera point aborder 
 Contrainte par le vent quelque nef d'aventure 
 Pour servir au Cyclop de sanglante pasture:”^® 
 
 A fierce giant towering above everybne like a tall tree in a for- 
 est, 59 rules the land and forces every/one whom his men capture to 
 fight him hand to hand. His home, like Polyphemus*, is a cave 
 reeking with gore.^ After describing this den the sailor, Timant, 
 begs for aid, or death from human hands: 
 
 56Lau., IV, 279-280; Aen . , III, 590, 593-594. 
 
 57Lau., IV, 280; Aen . . Ill, 640. 
 
 58Lau., IV, 280; Aen . . Ill, 622-625, 657-658. This comparison 
 would lead one to think that Ronsard had Virgil in mind when he 
 described the wretched victim, but it must be^kdmitted that 
 Valerius Flaccus was also consulted for this poem. 
 
 59Lau., IV, 281; Ec. , I, 25. 
 
 60Lau., IV, 282; Aen . . Ill, 617-619. 
 

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73 . 
 
 ”Pouroo je vous suppli' par le Ciel respirable^ 
 
 Par I’air, par le Sol ell soyez moy secourable, 
 
 Ruez moy dans la mer, ou m'assommez de coups: 
 
 Bref si J'ay ce bon-heur que de mourir par vous, 
 
 Heureuse je diray ma miserable vie, 
 
 Au moins si je la voy par les hommes ravie. 
 
 Ainsi disoit Timant,qui les genoux tenoit 
 De Jason," 
 
 "per sidera tester, 
 
 per supero^tque hoc caeli spirabile lumen, 
 tollite me .... 
 
 ppargite me in fluctus vastoque immergite ponto: 
 
 5i pereo, hominum manibus periisse iuvabit. 
 dixerat et genua amplexus genibusque volutans 
 haerebat . "Si 
 
 In the meantime the giant Amyous himself appears carrying an immense 
 olubS2 and walking with immense strides 
 " . . . . oomnie un Lyon sauvage 
 
 Qui oit le plaint d'un Fan en \in prochain bocaga, 
 
 Et fait depa dela ondoyer en allant 
 Ses crins dessus 1 ' espaule^horribl ament hurlant."S3 
 
 He comes to the shore where some of the Argonauts are already start- 
 ing fires by means of flint and are making other preparations for 
 
 * n g . 
 
 an encampment like the Troians Aene id I. At the sight of the 
 
 sailors he is mad to seize such a tender prey (using the same 
 
 Virgil ian figure as before): 
 
 "Ne plus ne moins que fait un grand Tygre affam^ 
 
 Voyant un Cerf au bois, de son front desarm^." 
 
 He challenges one of them to fight him and at Pollux's acceptance 
 
 he measures him with his eye as a lion his pursuers: 
 
 "... .ainsi qu'un grand Lyon 
 Qui se voit enferme d'un espais million 
 De chasseurs et de chiens, seulement il oeillade 
 Geluy qui le plus pres luy dresse I'embuscade, 
 
 Et le veut le premier (comme un hardy veneur) 
 
 Assaillir et tuer pour en avoir I'honneur." 
 
 SlLau. ,IV, 284; Agn . , III, 599-60J, 605-608 
 
 62Lau.,IV, 284; Aen. , III, 659. 1: ; - : / 
 
 63Lau.,IV, 284; Aen., X, 723-726. ' 
 
 0A£|*v'ii IV 284* Afttt X 7R 
 
 65Lau!*IV/.*868;* Ten\[ x! 723-726. 66Lau. ,IV,286; Aen. .X.706-712; IX,7 
 
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 After berating Pollux in a haughty tone 
 
 "II n'eut pas achevi ^u'a bae 11 ee descharge 
 De la peau d'un Lyon..., 
 
 Et nud se vint planter au milieu de I’arene, 
 
 Monstrant sa large espaule,” 
 
 "haec fatus duplicem ex umeris reiecit araictumj 
 et raagnos membrorum artus, magna ossa lacertosque 
 exuit atque ingens media constitit harena."®*^ 
 
 Pollux also prepares for the fray by limbering his muscles: 
 
 "II secouoit en I’air k ruades ses bras 
 Escartez 5 ^ et la." 
 
 "bracchia protendens et verberat ictibus auras."®® 
 
 The oaestus fight which follows is very much like that between En- 
 
 tellus and Dares in Aeneid V. A valet brings out two pairs of 
 
 oaesti for the combatants: 
 
 "Dependant un valet sur le rivage apporte 
 Des caestes emplombez d‘une pareille sorts, 
 
 Semblables de grosseur largeur et pesanteurf" 
 
 "Turn caestus pater extulit aequos 
 
 et paribus palmas amborum innexuit armis."^® 
 
 Then the battle begins: 
 
 "Premierement de coups 11 s frapperent le vent. 
 
 Puis reculans le chef, allongerent devant 
 Les bras pour sauvegarde, et de pres accouplerent 
 Leurs mains centre leurs mains et leurs coups redoublerent? 
 
 "abduxere retro longe capita ardua ab ictu 
 immisoentque manus manibus pugnamque lacessunt . 
 
 relying on his speed and skill fights 
 
 "ne plus ne moins qua font 
 Les soldats qui par ruse embuscade et finesse 
 Espient lee abords de quelque forteresse, 
 
 Descouvrant d'un oeil prompt ores bas ores haut 
 Le lieu le plus commode a la prendre d'assaut." 
 
 IV, 287; V, 421-423. 
 
 IV, 288; , V, 377. 
 
 IV, 288; Aen , , V, 424-425, In the caestus fight Ronsard may 
 have imitated Valerius Flaocus directly, but it is safe to say 
 that ha did not forget Virgil's account of the fight, with which 
 he had been familiar long before he had heard of Flaccus. 
 
 70Lau., IV, 289; A^. , V, 428-429. 
 
 The one 
 
 67Lau. . 
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 "ille, velut celsam oppugnat qui mol i bus urbera 
 aut montana sedet circum oastella sub armis, 
 nunc hos, nunc ill os aditus omnemque pererrat 
 arte locum et variis adsultibus inritus urget." 
 
 The other is confident in his firm and huge form: 
 
 ”L 'autre comme un rccher qui de son poids s'asseure 
 Sur le bord Aegean, en sa place demeure 
 Ferme dessus le pied et sans se remuer 
 Attend que cest enfant s'aille sur luy ruer." 
 
 "ille velut rupes, vastum quae prodit in aequor, 
 obvia ventor\am furiis expostaque ponto,.... 
 ipsa immota manens, " 
 
 "stat gravis Entellus nisuque immotus eodem,"*^^ 
 Pollux's attack is also compared to the efforts of an angry sea 
 against a rock from which it is repulsed, 73 
 
 "Lors la fureur demine, et la raison se trouble, 
 
 Un coup sur 1 'autre coup sans cesse se redouble, 
 
 Qui plus menu que gresle erjbondissant se suit 
 Ores sur I'estomac qui sonne d'un grand bruit. 
 
 Ores dessus le ventre, et ores sur I'esohine." 
 
 "Multa viri nequiquam inter se volnera iactant, 
 multa cavo lateri ingeminant et pectora vastos 
 dant sonitus , 
 
 nec mora, nec requies; quam multa grandine nimbi 
 oulminibus crepitant," 
 
 "De leurs temples oavez les deux fosses resonnent, 
 
 Et de coups redoubles I'un sur 1 'autre abondants. 
 
 Font craquer la maschoire et claqueter les dents." 
 
 " . . . . erratque auris et tempora circum 
 crebra manus, duro crepitant sub volnere malae."'^ 
 
 As in Aeneid XII. the two fighters are compared to two bulls who 
 
 fight while the rest of the herd watches them: 
 
 "Ne plus ne moins qu'on voit deux toreaux amoureux 
 Fairs au milieu d'un prd des combats valeureux. 
 
 '^^Lau. , IV, 289; Aen . , V, 439-442. 
 
 72Lau,, IV, 289; Aen., X, 693-694,696; V, 437. 
 73Lau., IV, 289; 4^., VII, 586-589. 
 
 74Lau., IV, 290; A^n., V, 433-435, 458-459, 435-436. 
 

 
 
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 Pour 1 'amour d'une vaciie: autour d'eux est muet 
 Tout le menu troupeau, qui encorae na scait 
 Qui leur doit commander, et qui parmy I"' herbage 
 Veinqueur aura tout soul la vaohe en mariage."75 
 
 Amyous becomes angered at his lack of ability to overcome Pollux 
 
 immediately: 
 
 "Amyous enflame d'\ine bouillante rage, 
 
 Ramassant son esprit redoubla son courage, 
 
 Et faisant reculer Pollux en ohaque coing, 
 
 Ores du poing senestre, ores de 1 'autre poing, 
 
 D'une main sans repos le tourne et le secoiie, 
 
 Et de ses bourrelets luy fait sonner la joue, 
 
 L'estomac et le flanc, ne laissant sojourner 
 Son pied, sans le pousser, tourmenter et tourner." 
 
 "acrior ad pugnam redit ac vim suscitat ira. 
 turn pudor incendit viris et conscia virtus, 
 praecipitemque Daren ardens agit aequore toto, 
 nunc dextra ingeminans ictus, nunc ille sinistra." 
 
 When Pollux slips on a stone and momentarily falls, 
 
 "...Lore les Bebryciens 
 D'aise firent un bruit" 
 
 "consurgunt studiis Teucri et Trinaoria pubes; 
 it clamor oaelo;"77 
 
 Amyous by a powerful blow seeks to end the conflict, but Pollux 
 dodges it: 
 
 "...en dressant le bras, 
 
 Luy mesura le chef pour ne le faillir pas: 
 
 Puis soudain comzne foudre il deschargea sa dextre, 
 
 Mais en vain: car Pollux d'une cau telle adextre 
 
 A chef baiss^ coula sous luy si finement 
 Que le bras ne toucha que le dos seuleraent." 
 
 "ostendit dextram insurgens Entellus et alte 
 extulit; ille ictura venientem a vertioe velox 
 praevidit oelerique elapsus corpore oessit; 
 
 Entellus viris in ventum effudit . . . . 
 
 T5Lau. , 
 
 IV, 
 
 290; 
 
 Aen. , 
 
 XII 
 
 , 715-722 
 
 *76Lau. , 
 
 IV, 
 
 291; 
 
 Aen. , 
 
 V, 
 
 454-457 
 
 '^'^Lau. , 
 
 IV, 
 
 291; 
 
 Aen . , 
 
 V, 
 
 450-451 . 
 
 78Lau. , 
 
 IV, 
 
 292; 
 
 Aen . , 
 
 V, 
 
 443-446. 
 
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 Amyous falls with a great noise, as falls a huge pine tree: 
 
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 Non autrement qu'un Pin, quand le venteux orage 
 Deracine sa souche, et le fait trebuoher 
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 Avecques un grand bruit tous les buissons renverse." 
 
 "ipse gravis graviterque ad terram pondere vasto 
 concidit, ut quondam cava concidit aut Eryaaantho 
 aUt Ida in magna radicibus eruta pinus."'^® 
 
 In the Dialeotiaue of Pierre de La Ra.n4e®^ there are trans- 
 lations by Ronsard of brief selections from a number of classic 
 
 authors among whom Virgil naturally has a prominent place. The 
 
 the. 
 
 first translation from Virgil is of the passage of^ Aeneid in which 
 sailors are said to have made offerings to the gods who brou^t 
 them safely to port: 
 
 "La de-fortune estoit un olivier sauvage. 
 
 Bo is jadis venerable, oh sauvez de naufrage 
 Les mariniers souloyent leurs offrandes ficher, 
 
 Et leurs habitz voiiez au Dieu Faune attacher.”ol 
 
 Other translations are: 
 
 The words of Menalcas and Damoetas describing cups: 
 
 "Je raettray deux hanaps, qu 'Alciaede au burin 
 A gravez au fouteau un ouvrage divin.... 
 
 Ce raesme Alcimedon d'un ouvrage divin 
 Deux hanaps au fouteau m'a gravez au burin. 
 
 The power of the winds rushing over the seas: 
 
 "Tout aplat sur la mer les ventz couchez se sont. 
 
 Touts la renversant du hault jusqu'au profond, 
 
 L'Est, ensemble le Su, 1 'Quest impetueux: 
 
 Et font rouller au bort les grandz flotz escumeux."83 
 
 79Lau., IV, 292; , V, 447-449. 
 
 QOParis, A. Wechel,1555. Ronsard' s name is printed on the margin 
 either at the end of the first verse, at the end of a verse in the 
 middle of the citation, or at the end of the last verse. 
 ojLau., VI, 396; Aen. , XII, 766-769. 
 
 S^Lau., VI, 397; Ec . , III, 36-37, 43-M. 
 
 83Lau,, VI, 397; Aen., I, 84-86. 
 

 
 
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79 . 
 
 The instructions given by Ancbises to Aeneas in the under- 
 world: 
 
 ”Aie tousjours souvenance, o Remain, 
 
 De gouverner les peuples soubz ta main 
 Par un t^l art: en paix faire des loix, 
 
 Les glorieux vainore par le harnois, 
 
 Et aux vaincus soumis a ta puissance 
 User benin, d'une doulce olemence."84 
 
 Rome’s greatness to be: 
 
 "Caste Rome fameuse, 
 
 Laquolle esgallera au grand tour spacieux 
 Du monde son empire et son courage aux cieux."°° 
 
 The riddles asked by Damoetas and Menaloas: 
 
 "Dy moy en quelle terre on ne voit seulement 
 Que trois brasses de ciel, et me seras vrayment 
 
 Un certain Apollon en choses difficile 
 
 Dy moy en quelle terre on voit naistre les fleurs I 
 
 Ayantz le nom des roys escript sur leurs couleurs, 
 
 Et tu auras tout seul Phyllis, la belle fille."86 
 
 Corydon's warning to Alexis: 
 
 "0 bel enfant, ne te fie 
 Par trop en ta belle oouleur, 
 
 Souvent on cueil ’la noire fleur, 
 
 Et la blanche chet fanie."®*^ 
 
 The beginning of the second Georgio : 
 
 "Jusqu'a ces vers icy nous avons par nos chantz 
 Diet les astres du ciel et le labeur des champs: 
 
 Or Bacchus je te chante, et les saulvages plantes, 
 
 Et tardement aussi les olives nais^antes."®^ 
 
 The fact that these passages, most of which may be found 
 incorporated in various poems of Ronsard, are so widely scattered 
 throughout Virgil is further proof that Ronsard was familiar with all, 
 parts of Virgil. 
 
 ®^Lau., VI, 398j , VI, 851-853. 
 
 ^^Lau., VI, 400; AejS.. , VI, 781-782. 
 
 86Lau., VI, 400-401; , III, 104-107. 
 
 o^Lau., VI, 402; , II, 17-18. 
 
 °°Lau., VI, 404; Geor . . II, 1-3. 
 

 
 
 
 
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80 . 
 
 THE ECLOGUES 
 
 The section of the 1584 edition of Ronsard’s works which 
 contains the eclogues^ consists of a dedicatory poem to the Prince, 
 Francois, Duke of Anjou; five eclogues, the first of which is the 
 Ber^erie ; a chant uastoral ; and the poem, Lo Cvclope amoureux . The 
 dedi action begins with lines which recall the end of the fourth 
 Georgio : 
 
 ”Tandis que la vaillance, ame d'un bon courage, 
 
 Yous pousse a regaigner I’ancien heritage 
 Des Princes vos ayeuls, et qu’ami du harnois 
 Vous marquez plus avant les bornes des Franjois, 
 
 Aimant mieux la sueur, la poudre et la proubsse, 
 
 Que roiiiller au Plessis vos beaux ans do paresse: 
 
 Paris mo tient ici, ou par 1 ' impression 
 J’ envoys mes enfans en toute nation 
 Conceus de mon esprit par une ardente verve, 
 
 In the sources of the eclogues proper, Virgil occupies a 
 
 very important position. But since Ronsard knew the neo-latinist 
 
 and Italian pastoral poets, who were imitators of Virgil, not to 
 
 mention Theocritus, Virgil’s own model, it is not always possible to 
 
 say when he is borrowing directly from Virgil. It can be said, 
 
 however, that Ronsard knew Virgil first and more thoroughly than the 
 
 that 
 
 others, 3 that he admired him more, and^when he was imitating the 
 others he knew exactly how much of Virgil he was imitating indirect- 
 
 ^Lau., Ill, 351-457. There are many other pastoral poem.s in Ronsard, 
 the Virgilian elements of which are considered elsewhere in this 
 article . 
 
 2La.u., Ill, 353; Geor., IV, 559-566. 
 
 3as mentioned above (note 3, Part, II) Ronsard probably imitated the 
 Eclogues at an early age. 
 

 
 
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81 . 
 
 ly. Virgil under the name of Tityre, is mentioned oftener in the 
 Eclogue s than any other pastoral poet: 
 
 "J'ay veu le fleuve d’Arne et le Mince cornu, 
 
 Qui Qst par le berceau de Tityre cognu, 
 
 Ou le Due Mantouan ennemy de tout vice 
 Aux peuples see sujets administre Justice. ”4 
 
 There is scarcely a page of Ronsard’s eclogues which does not have 
 some idea or expression corresponding to one in Virgil, but since 
 Ronsard's first eclogue has more lines than all ten of Virgil’s to- 
 gether, there is of necessity much development of ideas not found 
 in Virgil and also a great repetition of details which are in Vir- 
 gil. The Georgies , too, are frequently used. As has been said be- 
 fore, Virgil's Eclogues are among those poems which in the Defense 
 et Illustratio n are specifically nciraed to be used as models. Aside 
 from the translations of passages of the Eclogues quoted above from 
 the Dialectiaue of la Ramee, Ronsard himself refers directly to 
 them in a letter to Antoine de Baif where a line of the fifth 
 Eclogue is quoted. 5 
 
 The Bergerie . first published in 1565, is a dramatic pas- 
 toral, the principal characters of which are members of the royal 
 family under disguised names. The setting is in ajeave like the 
 fifth Eclogue .^ After the various shepherds and shepherdesses have 
 offered stakes for a song contest, Orleantin sings of the sorrow and 
 grief attendant upon the death of the prince, - there are bloody 
 
 ^Lau., Ill, 385. Other references to Tityre are in Lau. ,111,381,386, 
 406, 409,420,434. Virgil speaks of himself as Tityrus in Eclogue I 
 and in Geor . . IV, 566 mentions his eclogues as the songs of Tityrus. 
 SLsu., VII, 132j M. V, 64. 
 
 6^., V, 6, 19. 
 
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82 . 
 
 Wars, the sun refuses to shine, and ploughs lie dishonored.*^ Finally 
 a Nymph, worthy of an altar,® like Augustus, takes pity on the na- 
 tion and permits the inhabitants to take up again their former lifei 
 "Pasteurs, comme devant 
 
 Entonnez vos chansons et les joiiez au vent,... 
 
 Et menez desormais par les prez vos toreaux,... 
 
 Elie nous rebailla nos champs et nos bocages."® 
 
 Angelot's funeral eulogy for Henry II which follows is a very close 
 
 imitation of the fifth Eclogue . At his death the flocks did not 
 eat or drink, the sun hid itself, the Nymphs and even the lions 
 wept.^^ 
 
 "Tout ainsi que la vigne est I’honneur d'un ormeau, 
 
 Et I'honneur de la vigne est le raisin nouveau, 
 
 Et I'honneur des troupeaux est le Bouc qui les meine, 
 Comme lee espies sont I'honneur de la plains, 
 
 Et comme les fruicts meurs sont I'honneur des vergers, 
 Ainsi ce Henroit fust I'honneur des Bergers. 
 
 Quantesfois nostre soc depuis sa mort cruelle 
 A fendu les guerets d'une peine annuelle.' 
 
 Qui n'ont rendu sinon en lieu de bons espies 
 Qu 'Yvraie, qu 'Aubifoin, que Ponceaux inutils.'.... 
 
 Pasteurs, en sa faveur semez de fleurs la terra, 
 Ombragez les ruisseauxde pampres et de lierre, 
 
 Et de gazons herbus en toute saison verts 
 Dressez luy son sepulcre et y gravez ces vers;" 
 
 "vitis ut arboribus decori est, ut vitibus uvae, 
 ut gregibus tauri, segetes ut pinguibus arvis, 
 tu decuB omne tuis 
 
 grandia saepe quibus mandavimus hordea sulcis, 
 infelix loliiim et steriles nascuntur avenae; 
 pro molli viola, pro purpureo narcisso 
 carduus et spinis surgit paliurus acutis 
 spargite humum foliis, inducite fontibus umbras, 
 pastores (mandat fieri sibi talia Daphnis), 
 et tumulum facite et tumulo superaddite carmen; 
 
 'J'Lau., 111,367-368; Geor . . I, 489-480,467,506-507. 
 
 8Lau., Ill, 368; Ec . , I, 7-8. 
 
 ®Lau. , III, 369; , I, 45-46. 
 
 lOLau., Ill, 370; Ejj., V, 25-26; Geor . . I, 467; Ec*>V, 20-21,27-28. 
 llLau., Ill, 370-371; Es., V, 32-34, 36-42. 
 
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83 . 
 
 The epitaph is different from that in Virgil, but the lines just 
 quoted and also the following are so close to Virgil that they 
 could almost be called translations. The exaltation of Henry to 
 the stars: 
 
 ”Tu vis la haut au Ciel, ou mieux que paravant 
 Tu vois dessous tes pieds les astres et le vent, 
 
 Tu vois dessous tes pieds les astres et les nues,.... 
 
 Et pouroe nos forests, nos herbes et..jaos fontaines 
 Se souvenant de toy, murmurant en tout lieu 
 Que le bon Henroit est maintenant un Dieu. 
 
 Sois propice a nos voeux;" 
 
 "Candidus insuetum miratur limen Olympi 
 sub pedibusque videt nubes et sidera Daphnis.... 
 ipsi laetitia voces and sidera iactant 
 intonsi monte^j ipsae iam carmina rupee, 
 ipsa sonant arbusta: 'deus, deus ille, Menalca! * 
 sis bonus o felixque tuis.'"12 
 
 Each year the shepherds will make offerings to him and sing at his 
 tomb.^^ 
 
 " . . . . tant qu’on verra les eaux 
 Soustenir les poissons, et le vent les oiseaux. 
 
 Nous aimerons ton nom,"14 
 
 15 
 
 As to the other gods, so to Henry the shepherds will do service. 
 
 Navarrin sings of the Golden Age without war, of animals 
 speaking, of fields xmlimited, of earth producing all things with- 
 out toil, of the eternal springtime, of freedom from poison plants 
 and of the presence of spices everywhere, but age followed by 
 ( the coming of sorceresses who enchant the moon and change shepherds 
 I into wild beasts.^® 
 
 I 
 
 I Guisin sings of the glorious age which will be ushered in 
 
 I by the Prince Charles, as the child of the fourth Eclogue . Before 
 
 i-' 
 
 1 
 
 1 
 
 I 13Lau., Ill, 371-373; E^, V, 56-57; 63-65. 
 
 ; 13Lau., Ill, 373; Ec . , V, 67, 73. 
 
 '■14Lau., Ill, 373; Ec . , V, 76-78. 
 
 ISLau., Ill, 373; Ec., V, 79-80. 
 
 16Lau., III. 373-4;Geor., II, 539-540; I, 478, 136-128; II, 338; Ec., IV, 34,35, 
 
 . — — 
 

84 . 
 
 his coming 
 
 "On fsra pour tenir les villes assaur^es 
 
 Des fossez, des rampars, des ceintures mur^es 
 
 On fera da rateaux des poignantes esp4es. 
 
 Las faucilles seront an lames detramp^es, 
 
 L'avantureux Nocher d' avarice conduit 
 
 Ira voir sous nos piads 1 'autre Pole qui luit. 
 
 D'autras Tiphys naistront, qui pleines da hardiesse 
 Esliront par la France encore une jeunesse 
 De Chevaliers errans dans Argon enfarmez: 
 
 Encore on voirra des Achilles armez 
 Combatre devant Troye, 17 
 
 But when the prince .has become a man all vices will pass away and 
 
 there will be no more sailing over the seas:^® 
 
 " car sans voguer si loin 
 
 La terre produira toute chose sans soin. 
 
 Mere qui ne sera comma devant feriie 
 De rateaux a^igdisQZ ny de soc de chariie."!® 
 
 Wine will run in streams,®^ 
 
 "Le miel distillera de I'escore des chesnes, 
 
 Le belier en paissant au milieu d'un pr6 vert 
 Se voirra tout le dos d'escarlete couvert, 
 
 De pourpre I'aignelet, ,...,"21 
 
 Margot's song is another imitation of Virgil's praise of 
 Italy, but it does not follow the Latin model so closely as does 
 the Hymn e de France . The song like Virgil, protests that other na- 
 tions cannot compare with France, declares there are no lions, dra- 
 gons, or poison plants there, introduces mention of geographical 
 
 features with rhetorical questions, speaks of cities girded by 
 streams and of the two seas, and lists the heroes. it further de 
 Clares that the noble royal house, like Augustus, gives back to the 
 shepherd the cattle he has lost: 
 
 l^Lau., Ill 
 Ill 
 
 J9l.au., Ill 
 ^Lau., Ill 
 |lLau., Ill 
 92Lau., Ill 
 167-172. 
 
 i 
 
 > 
 
 f 
 
 » 
 
 » 
 
 t 
 
 377; , IV, 32-33; Geor . , I, 508; , IV, 32, 34-36. 
 
 377; Ec. , IV, 37-39. 
 
 377- 378; Ec . , IV, 39-41, 
 
 378; Geor . . I, 132. 
 
 378; Ec., IV, 30, 42-45. 
 
 378- 380; Geor . . II, 136-139, 151-154, 158-164, 157, 158, 
 

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85. 
 
 ”C 0 Bte noble maison 
 
 Luy reclonne ses boeufs, see ohampe at son es table,,.. 
 
 Le rend riche et gaillard, et luy apprend a dire 
 Par les hautee forests les chansons de Tityre."23 
 
 In the closing lines of the song there is a salutation to France. 
 
 The rest of the poem has no direct borrowing from Virgil. 
 
 In the second eclogue of Ronsard there is not any long 
 continued imitation of Virgil, but a few lines are close to Virgil 
 as Aluyot's first meeting of his sweetheart in his mother's garden: 
 
 "J'ay I'ame touts esmeue et le coeur tout ravi, 
 
 Quand je pense en ce jour ou premier je te vy 
 Porter un beau panier (ainsi qu'une bergere) 
 
 Allant cueillir des fleurs au jardin de ma mere: 
 
 Si tost que je te vy, si tost je fu deceu, 
 
 Je me perdi raoy-mesme," 
 
 "saepibus in nostris oarvara te roscida mala 
 (dux ego vester eram) vidi cum matre legentem. 
 ut vidi, ut perii! ut me raalus abstulit error! 
 
 The continual burning of love in spite of the sun's setting: 
 
 "Le Soleil est couche: mais I'ardeur qui me poingt, 
 
 Ne se couche jamais...." 
 
 "et sol orescentis decedens duplicat umbras: 
 me tamen urit amor; 
 
 and the idea of each one's following his own desire: 
 
 "L'Aigneau suit I'herbe courte, et le doux Chevrefueil 
 Est suivi de la Chevre, et le bois du Ch6vreil: 
 
 Chacun suit son desir." 
 
 "torva leaena lupum sequitur, lupis ipse oapellam, 
 florentem cytisum sequitur lasciva capella, 
 te Corydon, o Alexi: trahit sua quemque voluptas."^^ 
 
 I 
 
 The beginning of Ronsard' s third eclogue is a free imita- 
 tion of the fifth and seventh Virgil ian Eclogues . where two sh^- 
 herds both good singers meet for a match in a cave; the general plan 
 
 23Lau. , III, 381; , I, 45-46. 
 
 2|Lau., Ill, 381; Geor . . II, 173-176. 
 
 2°Lau., Ill, 400-401; Ec . , VIII. 37-38, 41. 
 
 26Lau.i III, 402; Ec . , II, 67-68. 
 
 27Lau., Ill, 405; E^. , II, 63-65. 
 
 

 t 
 
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 V 
 
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86 . 
 
 follows the third Eclogue . - a shepherd coming along by chance is 
 
 chosen for judge and after speaking of the beauty of the spot asks 
 
 the songsters to begin: 
 
 ”Mais qui nous jugera? qui en prendra so in? 
 
 Vois-tu oe bon vieillard qui vient a nous de loin?.... 
 
 Ici le bois est verd, I'herbe fleurist ici, 
 
 Ici les petits monts les campagnes emmurent, 
 
 Ici de toutes parts les ruisselets murmurent; . . . . 
 
 Sus done chante, Bellot, commence quelque chose: 
 
 The end is more like the fifth, although it is like the third in 
 
 so far as the judge cannot decide which is the better singer: 
 
 "Vostre fleute, garsons, a I'oreille est plus douce 
 Que le bruit d'un rulsseau qui jaze sur la mousse,... 
 
 Que ohacun par accord s’entre donne son gage: 
 
 Perrot, pren le panier, et toy Bellot la cage:”2S 
 
 The fourth eclogue is a much closer imitation of Virgil. 
 Much of the introductory passage is modeled directly from the be- 
 ginning of the seventh Eclogue with a slight blending of the fifth. 
 A shepherd and goat herder meet by chance: 
 
 "De fortune Bellot et Perrot dessous 1’ ombre 
 D’un vieil chesne touffu avaient serr4 par nombre, 
 
 L'un a part ses brebis, et 1 'autre ses chevreaux. 
 
 Et tous deux sur la I6vre avaient les chalurneaux: " 
 
 "Forte sutjhrguta consederat ilice Daphnis, 
 compule rant que greges Corydon et Thyrsi s in unum, 
 
 Thyrsis ovis, Corydon distentas lacte capellas, 
 ambo florentes aetatibus. Arcades ambo, 
 et con tare pares et respondere parati."^^ 
 
 goat-herder looking for a strayed goat comes upon them: 
 
 "Voicy venir Beilin, qui seul avoit erre 
 Tout un jour a chercher son belier adire," 
 
 "hue mihi 
 
 vir gregis ipse caper deerraverat, atque ego Daphnim 
 
 aspicio. "31 
 
 III, 411-413; Ec. , III, 50, 56-58. 
 
 Ill, 417; ^., V, 82-85; III, 108-109. 
 
 Ill, 427; j^., VII, 1-5. 
 
 Ill, 427, Ec., VII, 6-7. 
 
 Another 
 
 28Lau . , 
 29Lau . , 
 ^^Lau. , 
 3lLau. , 
 
87 . 
 
 One of the two call to Beilin. (There is here an inversion in Vir- 
 gil of the person addressed and the one who addressee) : 
 
 si tost 
 
 "Si tost que je le vy:^je le cognu, 
 
 Et luy criay de loinJ Tu sois le bien-venu, 
 
 Couche toy pres de nous, ou si le mol ombrage 
 
 Du chesne te desplaist, voy cest Antre sauvage, 
 
 Une vigne sauvage est rampant sur la port, 
 
 Qui en se recourbant sur le ventre se porte 
 D'une longue trainee, et du haut jusqu'a bas 
 D’infertiles raisins laiese pendre ses bras. 
 
 These last lines are from the fifth Eclogue . but here the decision 
 
 is in favor of the shade of the oak instead of the cave. There are 
 
 several reminiscences of Virgil in the speeches of Beilin and Per- 
 
 rot - a thief detected runs to hide behind a hedge and a dog barks 
 
 at another thief. 33 The last lines of Perrot's speech are based 
 
 on three Virgil ian lines: 
 
 "Les bois ne sont pas sourds, ils pourront t'escouter. 
 Echon nous respondra, et nous ferons egales 
 Nos rustiques chansons a la voix des Cygales. 
 
 Chanton I'un apres 1 'autre, et en ceste facon 
 Que Phoebus aime tant, disons une chanson. "34 
 
 The tone and plan of all the rest of this poem is imitated from 
 
 the contest of Daraoetas and Menalcas in the third Eclogue , but it 
 
 is blended with ideas from many of the other Eclogues . Like the 
 
 two Latin bards, both Bellot and Perrot begin with invocations to 
 
 different gods: 
 
 "Mes vers au nom de Pan il faut common cer^ Muses: 
 
 Pan est Dieu des P asteurs, il a de moy souci^ 
 
 II daigne bien danser dessows mes cornemuses 
 Il a soin de la France et de mes vers aussi. 
 
 Au sainct nom de Pal^s il faut que je commence: 
 
 Pales ainsi que Pan aime les Pastoureaux, 
 
 Diane, 
 
 Ill, 428; VII, 8; ^. , V, 5-7. 
 
 Ill, 429-430; Ec,, III, 17-18, 20. 
 
 Ill, 430; Ec., X, 8; II, 13; III, 59. 
 
 32Lau. , 
 33Lau . , 
 34Lau. , 
 
86 
 
 "Ne cognoist pas si bien en courant a la chasse 
 La meute de ses chiens comrne elle me cognoist. 
 Phoebus le ohevelu, Dieu qui preside a Cynthe, 
 
 If 'aims plus que son Luth: je fais sa volonte, 
 
 Tousjours ses dons je porte, au sein son Hyacinthe, 
 Son Laurier sur le front, sa trousse a mon coste"35 
 
 Both mention their loves and their gifts to them: 
 
 "Deux petite ramereaux je porte a mon Olive, ^ 
 
 Denichez d’un grand orrne a gravir mal-aise, . . . . 
 
 II ne faut comparer ma Bergere a la tienne, .... 
 
 La tienne est toute brune, et tu sgais que la mienne 
 (Tu la vis 1 'autre jour) est plus blanche que liz. 
 
 La coulour blanche tombe, et la couleur brunette 
 Est tousjours en saison,et ne se fletrit pas; 
 
 On cueult du Baciet la fleur toute noirette, 
 
 Le liz qui est tout blanc, bien souvent tombe a bas.... 
 lion mast in, garde bien de mordre ma mignonne 
 Si elle vient me voir...." 
 
 "Parta meae Veneri sunt muneraJ namque notavi 
 
 ipse locum, aeriae quo oongessere palumbes 
 
 quamvls ills niger, quamvis tu candidus esses? 
 o formose puer, niraium ne crede colori: 
 alba ligustra cadunt, vaccinia nigra leguntur.... 
 notior ut iam sit canibus non Delia nostris.''36 
 
 Both sing of friends and contemporary poets: 
 
 "Que tousjours Avanson raaugr^ I'dge fleurisse: 
 
 Car il aime les vers, et tous ceux qui les font. 
 
 Je pais h, son honneur une belle Genisse, 
 
 Qui de blanche couleur porte une estoile au front. 
 
 Mon Du-thier dans le Ciel puisse prendre sa place, 
 
 Il aime ceux qui vont les Muses poursuivant: 
 
 Je luy pais un Toreau qui les Pasteurs menace 
 De la come, et du pied pousse I'arene au vent. 
 
 Quiconque aime Avanson, par ses champs toutes choses 
 Luy puissent a souhait venir de toutes pars: 
 
 Quelque part qu'il ira les oeillets et les roses, 
 
 Et fust-ce aux jours d'hyver, luy naissent sous le pas. 
 
 Quiquonquo aime Du-thiar, qu'il flechisse les marbres." 
 
 "Pollio amat nostram, quamvis est rustica, Musam: 
 Pierides, vitulam lectori pascite vestrc. 
 
 Pollio at ipse facit nova carmina: pascite taurura, 
 
 iam cornu petat et pedibus qui spargat harenam. 
 
 Qui te, Pollio, amat, veniat, quo te quoque gaudet; 
 mella fluant illi, ferat et rubus asper araomum* ^ 
 
 Qui Bavium non edit, amet tua carmina, Maevi . . . . ' 
 
 35Lau.,III,4bd,431jEc. ,lll,60jll,33; V. 58-59; Geor ., Ill .1 ; Ec . .III. 
 
 67, 62-63. 
 
 36Lau. ,111,431-432;^. ,111,68-69; II, 16-18; III, 67. 
 
 « , 1 1 1 , , 1 1 1 , 04-9U . ■ 
 
Then, both turn to purely pastoral topics: 
 
 ”Mai 3 d'o^i vient qua raon bouc, qui sautoit si alaigra, 
 
 Qui gaillard dans cas prez cossoit contra tnes boeufs, 
 Dapuis qu’il vit ta chevre, ast devenu si maigra? 
 
 Ja ne spay qu'il auroit, s'il n'estoit amoureux. 
 
 La chevra qua tu dis, sur une pierre dure 
 Avorta 1 'autre jour, 
 
 Je cognois das Pasteurs, qui nos boeufs ensorcellent 
 De regards enchantaz . . . . 
 
 Hou mast in I va chasser mon bouc qua je voy pendre 
 Sur le haut de ce roc, il pourroit trebuchar: "38 
 
 Allusions to two other Eclogues precede these last two lines, - 
 
 the power of love and the engraving of verses on trees: 
 
 "Ja la chaleur se passe, et le Soleil s'abaissa, 
 
 Les vents sont abaissez, las bois dormant sans bruit; 
 Mais la flame d'amour qui jamais ne me laisse. 
 
 Plus s’allume an mon coeur, plus s'approche la nuict... 
 
 Desur deux chesneteaux hier k toute force 
 Avanson je gravay avecques un poinpon: 
 
 Les deux ohesnas croistront, et la nouvelle escorce 
 Portera jusqu'au Cial le nom d' Avanson. "39 
 
 As in the third Eclogue the contest closes with two riddles and a 
 
 statement by the judge that he cannot reach a decision.^ 
 
 The fifth eclogue of Ronsard is another song contest where 
 both the contestants are 
 
 "Bden appris a chanter, bien appris a respondre . "41 
 As in the third Virgilian Eclogue, Carlin suggests a goat as a 
 stake, but Xandrin wishes to change to a cup which he considers of 
 far greater value and which has never been touched by his lips."^^ 
 
 A judge is chosen who, like Palaemon, speaks of the beauty of na- 
 ture before asking the shepherds to sing in alternate verses. 43 
 
 '^®Lau., 111,434-436; Ec. ,III, 100-101 ; 1 ,14-15; 111,103,94-96;!, 76. 
 3»Lau., Ill, 436; , II, 67-68; X, 53-54. 
 
 40Lau., Ill, 437; Ec., Ill, 104-109. 
 
 4lLau., Ill, 438; Eq, , VII, 5. 
 
 42Lau., Ill, 439-440; , III, 39,31, 35-36, 43. 
 
 43Lau., Ill, 443; Ec. , III, 55-59. 
 
90 . 
 
 Carlin begins with verses for Jupiter, and Xandrin for Pan who pre- 
 sides over the shepherds. Then they sing of Earth's sorrow at 
 Pan's death and of her producing only weeds and thistles, of the 
 Golden Age when earth bears without tillage and honey runs from 
 oaks, of the brightening of the meadows at Galatee's or Pasith^e's 
 coming and of the corresponding bleakness at their departure.^5 
 The poem ends like the fifth Eclognie: 
 
 "Cfest plaisir que 
 
 d'ouyr I'onde qui glisse 
 
 A val d'un haut rocher, d'ouyr oontre les bords 
 
 Les flots de la grand mer quand les vents ne sent forts: 
 
 Mais e'est plus grand plaisir d'entendre vos Musettes,... 
 
 Que I'un donne eon gage b, 1 'autre de bon coeur. 
 
 Car I'un n'a point est^ dessus 1 'autre veinqueur . "46 
 
 Neither the Chant pastoral nor the Cvclope Amour eux borrow 
 directly from Virgil, but as the latter poem, like Virgil's second 
 Eclogue . is imitated from Theocritus, there are a number of inci- 
 dents to be found in both the Latin and French poems. The shepherd 
 in both poems try to influence their loves by singing of their 
 wealth and by denying their homeliness: 
 
 "Certes je me cognois, je ne suis si difforme 
 Que plaisir je ne prenne a contempler ma forme: 
 
 Ma face 1 'autre jour sur I'onde j'esprouvay 
 
 Quand la mer estoit oalme, et beau je me trouvay."47 
 
 At the close of their songs both rebuke themselves for their love 
 
 of girls who do not care for them and declare they would do well to 
 
 tend their sheep more faithfully or at least to weave baskets. 48 
 
 44Lau . , 
 45Lau. , 
 46Lau . , 
 4?Lau. , 
 48Lau. , 
 
 III, 442-443; ^. , III, 60; II, 33. 
 
 Ill, 443,444,446,447; Ec. , V, 34-39; IV, 18-19, 30; VII ,59,53-5' . 
 Ill, 449; ^. , V, 81, 83-85, 88. 
 
 Ill, 455, 451, 456; Ec ., II ,19-22 , 25-27. 
 
 Ill, 456-457; , II, 56-58, 71-72. 
 
91 . 
 
 Other ideas which are found both in the above pastoral 
 poems of Ronsard and in Virgil, but which have not as yet been 
 pointed out in Ronsard are as follows: The mercenary shepherd 
 
 (Lau., Ill, 357; , III, 5); a goat hanging to a rod: (Lau. , III 
 
 357; Ec.. , I, 76); the Golden Age brought back by some character 
 
 the 
 
 (Lau., Ill, 357, 359; ^. , IV, 6 ff.); Saturn's reign used in^sense 
 of Golden Age (Lau., Ill, 359, 406; Ec. , IV, 6); washing the flock 
 (Lau., Ill, 358, 444; E£. , III, 97); trees towering above the rest 
 of a grove (Lau., Ill, 359, 400, 413; Ec. , I, <55); a vine clinging 
 to an elm (Lau., Ill, 359, 384, 398, 414; Ec. , II, 70; V, 32); 
 stakes for a song contest (Lau., Ill, 360 , 361, 365 , 409; , HI, 
 
 29-32, etc.,); a stake of a cup which is described (Lau., Ill, 362r; 
 Ec ♦ , ni 3C-43) ; one stake declared to be better than another (Lau. , 
 III, 362; ^. , III, 35); the weaving of reeds (Lau., Ill, 365, 398; 
 Ec. . II, 72); the catching of birds with bird-lime (Lau., HI, 365, 
 447; Geor . . I, 139); the flock led into the shade during the heat 
 of noon (Lau., HI, 366; Geor . . HI, 331); the shepherds' annual 
 sacrifices (Lau., Ill, 369 , 406 , 425; Ec . , V, 67, 79; VII, 33); 
 verses carved on the barks of trees (Lau., HI, 369, 398,400, 423, 
 425; ^. , V, 13; X, 53); bees feeding on thyme (Lau., HI, 370, 
 
 438; ^. , V, 77); the brightening of the woodland at the coming of 
 a sweetheart (Lau., HI, 376, 425, 449; Ec . , VII, 57-60); the 
 laurels of the Eurotas (Lau., Ill, 380; E^. , VI, 83); the boast of 
 being first to sing certain kinds of verse (Lau., Ill, 380; E 52 .,Vi, 
 Ij C?eor . . Ill, 10-11); the use of "realms of Saturn" as synonymous 
 with Italy (Lau., HI, 384; Geor . . II, 173); the failure to reach 
 a decision in a song contest (Lau., HI, 386; ^. , HI, 108); the 
 
92 . 
 
 spring coming twice a year (Lau., Ill, 387; Geor . . II, 149-150); 
 songs of alternate verses (Lau., HI, 389, 394; ^. , HI, 58-59); 
 a cave setting (Lau., HI, 394, 395; , I, 75; V, 19); animals 
 
 fighting for love (Lau., HI, 396; Geor . . Ill, 220); a shepherd’s 
 statement of his wealth (Lau., HI, 396, 413; ^. , H, 20-22); a 
 shepherd’s selling his products in tov/n (Lau., HI, 397 J , I, 
 34-35); two lovers lying under the shade together (Lau., Ill, 397; 
 
 Ec . . X, 40); storms baneful to the crops (Lau., HI, 397; , HI, 
 
 80); honey r\mning from trees (Lau., HI, 400; VII, 392; , IV, 
 
 30); the comparison: sweet like sleep on the grass or the murmur 
 of a stream (Lau., HI, 402 , 418 , 455; j^. , V, 46-47); a song, the 
 only comfort of a lover (Lau., HI, 402; ^. , II, 3-5); the des- 
 cription of a tame deer (Lau., HI, 360; Aen . . VII, 483-492); the 
 comparison: like a rainbow of many colors (Lau., HI, 405; Aen., 
 
 V, 88-89); Tityrus named as the guardian of the flock (Lau., HI, 
 406; Ec . , V, 12); the setting up of altars to a shepherd as to a 
 gcd (Lau., Ill, 406; E^. , V, 79); the cornpa rison: as a bull is 
 superior to the rest of a herd (Lau., Ill, 413; VII, 391; ^. , V, 
 33); the figure of the lion following the wolf, the wolf the goat, 
 and the goat the clover (Lau., VII, 391; Ec.. , II, 63-64); an address 
 to Lucina (Lau., HI, 414; ^. , IV, 10 ); a fire starting from a 
 small spark which sets fire to a whole forest (Lau., HI, 422; Geor . 
 II, 303-311); the death of a shepherd causing the earth to produce 
 nothing but tares (Lau., HI, 423-424; ^. , V, 36-37); love conquer- 
 ing all (Lau., HI, 450; , X, 69).'^^ 
 
 49ih is paragraph contains the Virgilian citations which in the con- I 
 elusion are referred to this note. 
 
93 . 
 
 THE FRANCIADE 
 
 The influence of Virgil on Ronsard's long anticipated 
 epic. La R:an 3 l ade .h as been so carefully considered by Paul Lange^ 
 that it is not necessary to give here more than a summary of the 
 Virgilian elements. The conception has already been shown to be 
 Virgilian.2 As for the plot, it has been said that one of the 
 reasons why it was not completed was the fact that Ronsard had al- 
 ready used so much of the Aeneld in the first four books that he 
 had no material for the rest of his poem. A sketch of the four 
 books with sublineation of incidents imitated from the Aeneid fol- 
 lows: 
 
 Book I. After the invocation ( Aen . . I, 8-11) a council of 
 the gods ( Aen . . X, 1-95) is introduced at which Jupiter describes 
 the fall of Troy ( Aen . . II) and explains how he had saved Francus 
 from the flames. He tells Juno that Francus will attain his goal 
 in spite of her hostility ( Aen . , I, 257-296) . At his command Mer - 
 cury is sent ( Aen . . IV, 223-255) to Bu thro turn ( Aen . . HI, 293) to 
 arouse Francus who is living there with Andromache and Helenus 
 ( Aen . . Ill, 294-297). The messenger arrives at a time when a 
 sacrifice is being performed ( Aen . , III, 300-305). Rumor spreads 
 
 1^. cit . . Part I, note 3. 
 
 ^See the text to notes 39-42 of Part I. That discussion is inde- 
 pendent of Lange's work, which is concerned primarily with the 
 actual poem. Lange is not very certain about the origin of the 
 poem, although he mentions two of the early odes which give plans 
 for it. In his synopsis of the Franc iada . he might have mentioned 
 more incidents taken from the Aeneid. 
 
94 . 
 
 the news of his visit and stirs up the people ( Aen . . IV, 173-188.) 
 Helenus at night ( Aen . . IV, 532-528) planning his step-son's voyage 
 cannot sleep ( Aen . , IV, 529-532) . Mars in the gruise of an old ser- 
 vant appears ( Aen . . IX, 646-663) to Francus and rebukes him for his 
 delay ( Aen . , IV, 365-276) . Francus chooses the young:er men to 
 take with him ( Aen . . V, 715-718, 729-730). Andromache bids him 
 farewell giving him gifts for remembrance sake ( Aen . . Ill, 482-491; 
 V, 250-257). Helenus offers sacrifices to Neptune making requests 
 which Neptune grants in part ( Aen . . XI, 794-795). Helenus prophesle 
 
 explaining Francus * voyage ( Aen . . Ill, 369-462), in the course of 
 which the god of the Danube will arise to address the traveler 
 (Aen . . VIII, 31-35). The fleet sets sail ( Aen. . V, 8-9) as Francus 
 invokes the gods and the winds. A sign from heaven . - a clap of 
 thunder ( Aen . . VII, 141), is given. 
 
 Book II. Neptune still angry at an old offense of the 
 Trojans sees the fleet on the open sea ( Aen . . I, 25-28, 34-36). 
 
 He rages to himself ( Aen . , I , 37-50) and finally addresses the wihd 
 ( Aen . . I, 64-75) to persuade them to bring grief to the Trojans. 
 
 He seeks the superfluous aid of Iris whom he urges to incite Juno 
 to cause a rainstorm. The storm breaks out^ ( Aen . . I, 81-93). Fran - 
 cus in despair appeals to the gods ( Aen . , V, 687-692; I, 93-101)^ 
 but his ships are scattered and two are sunk ( Aen . , I, 102-123) . 
 
 The pilot is blown overboard and carries the helm along with him 
 ( Aen . , V, 857-860). Francus and a few others manage to gain the 
 shores of Crete. After the gods, Cybele ajid Sleep, have intervened 
 to prepare a friendly welcome ( Aen . . I, 297-304) for Francus, the 
 Cretan king, Dic4e on a hunt meets him. Francus describee his trial 
 
f 
 
 
 
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 ^ A 
 
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 ■i: 
 
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95 . 
 
 ( Aen . , I, 522-557) and Dicee welcome 8 him to his country ( Aen . . I, 
 562-578) stating that one of his ambassadors had been entertained 
 by Hector ( Aen . . VIII, 157-159). The king orders food to be sent 
 to the shipwrecked Tro.ians ( Aen . . I, 633-636). The spirits of some 
 of the drowned sailors appear to Francue an d appeal for tombs 
 ( Aen . . VI, 365-366). Francus performs rites for them ( Aen . , III, 
 62-68) and prays to Venus. Venus sends Love to Crete to inflame 
 both Clymene and Hyante, the daughters of the king. ( Aen . . I, 
 657-660) . Francus and some of his friends approach the city of 
 Dicee ^ g, cloud ( Aen . . I, 411-444). A great feast and dance are 
 prepared for them in the castle ( Aen . . I, 697-708), at which Ter- 
 pin sings to the Ivre ( Aen . . I, 740-746). The king is sad, however 
 for his son, captive of the giant Phovere, is to be killed the 
 next day unless saae one kills the giant .Francus volunteers to act 
 as chaiaqpion and on the following day meets and conquers the giant 
 
 ^In ^ite of the mediaeval atmosphere there are many similarities 
 between this duel and several duels of the Aeneid : The outcome 
 
 is decreed by the gods ( Aen . . XII, 725-727); Phovere speaks dis- 
 paragingly of FrFinous because of the importance of the battle 
 (Aen., XII, 764-765), but assures him he will be honored by fallini 
 at the hands of so great a man ( Aen . . X, 829-830). During the 
 course of the fight the bodies resound with blows ( Aen . , V, 435-436 
 and after a temporary lull both fight with renewed wrath and vigor 
 ( Aen . . V, 453-455). The one trusts to his speed and skill, the 
 other to his strength and power, ( Aen . . V. 430-431). They are 
 compared to two bulls ( Aen . . XII, 715-722; and Phovere 's fall is 
 like that of a pine ( Aen . . V, 447-449). 
 

 
96 . 
 
 Book III. The sisters are unable to sleep on account of 
 their love ( Aen . . IV, 80-83) . Hyante speaks to her sister of her 
 love ( Aen . , IV, 10-13) . In the morning both c onsult oracles 
 ( Aen . . IV, 56-65). Meantime Francue lamenting his sad fate ( Aen . 
 
 I, 93-101) is urged by the sea-gods to court Hyante in order to 
 persuade her to reveal his future to him. He must, however, bury 
 a dead companion first ( Aen . . VI, 149-155). Dices comes to offer 
 his daughter's hand to Francus, but he replies that he is compelled 
 by fate to refuse. The liberated son places trophies of the giant 
 on a tree (Aen . . XI, 5-11) and Terpin leads forth a dance from the 
 city to celebrate the victory. Venus disguised as the priestess of 
 Hecate incite s Hyante ( Aen . . VII, 341-355). Francus prepares the 
 rites of his dead comrade (Aen., VI, 162-183). Clymene, who had 
 been concealing her love for Francus, decides to take poison, but 
 her nurse interferes and urges her to write of her love to Francus. 
 Cybele, after appearing to Francus and berating him ( Aen . . IV, 265- 
 276) for failure to have Hyante prophesy his future, arouses 
 Jalousie to attack Clymene (Aen . . VII, 341-355). The nurse bears 
 Clymene 's letter to Francus who rejects it. Clymene denounces 
 him ( Aen . . IV, 305-330) and joining a Bacchic revelry ( Aen . . VII, 
 385-405) dashes headlong into the sea. 
 
 Book IV. While Dices hesitates to turn against his 
 guest ( Aen . . VII, 586-600), Francus courts Hyante. He has a rendez- 
 vous with her near Hecate's temple, where he promises to marry her 
 if she will reveal his future to him. She agrees and gives ^im 
 instructions for the sacrifice ( Aen . . VI, 133-148). N&ar a fright - 
 
., 1 . 
 
 
97 . 
 
 ful cave (Aen . . VI, S37-ii43) she works herself into a divine frenzy 
 ( Aen . . VI, 46-51, 77-80,257-26.3) and begins the prophecy of Francus' 
 deeds. She describes the process of metempsychosis (Aen,, VI, 724- 
 751) which takes place in the lower world and to the frightened 
 Francus names his descendants ( Aen . . VI, 756-886) as they appear in 
 the sulphur and flame at the mouth of the cava. 
 
 It will be noted from the summary that the role of the gods 
 is practically the same as in the Aeneid . - with the exception of 
 Neptune the same deities are friendly and the same hostile. They 
 asaime hiiman forms, appear in dreams, or send messengers to the human 
 beings in whom they are interested. The heroes of both epics act in 
 accordance with fate and not with their own volition. But the sum- 
 mary affords no idea of the stylistic similarities. There is an 
 almost countless number of epithets, similes, paraphrases, metaphors, 
 examples of metonymy, synecdoche, hyperboles, and alliteration like 
 those in Virgil.^ It is these figures together with the argument 
 which make it possible to state that the Franc iade owes more to Vir- 
 gil than to any other poet. 
 
 REMINISCENCES 
 
 There are numerous passages in Ronsard parallels for which 
 may be found in Virgil, but which may not always with certainty be 
 ascribed to borrowing from Virgil. However, when one considers Ron- 
 sard' s thorough and intimate knowledge of Virgil and his very great 
 4 
 
 These figures are discussed in detail by Lange. 
 
 I 
 
 1 
 
98 , 
 
 admiration for him and at the same time remembers that the 
 phraseology is often very similar in both poets, the passages will 
 be seen to deserve mention and at times quotation in this article. 
 They assuredly are reminiscences of Virgil and whether they repre- 
 sent direct imitation on the part of Ronsard or not, they are 
 identical ideas and subject matter employed by both poets. 
 
 CLASSICAL ALLUSIONS 
 
 Of the almost unlimited number of classical allusions in 
 Ronsard, only those are mentioned here which are combined with 
 similar descriptive clauses or phrases in Virgil: 
 
 Mad Coroebus, La^., I, 5; Aen . . II, 341,386, 407. 
 
 Amphrysus river, Lau., VI, 124; Oeor . . Ill, 2. 
 
 The punishment of the Locrois (=A jax) , Lau., I, 49; 
 
 Aen . , I , 41 , 
 
 Andromache at Buthrotum, Lau., II, 83; Aen . . Ill, 293 ff. 
 Pentheus' seeing two suns, Lau., VI, 123; Aen., IV, 469-473. 
 Hippolitus' return to the upper world, Lau,, II, 175; 
 
 Aen . . VII, 764-773. 
 
 Tritonia - Pallas, Lau., II, 262; Aen., II, 171 and 226. 
 Sailors make vows to Glaucus and Melicerta, Lau., II, 
 
 218; Geor. , I, 436-437. 
 
 Orpheus and E^rydice and the latter's death caused by a 
 snake, Lau., I, 37; Geor . . IV, 457-459. 
 
 Orpheus' grief, Lau., I, 361-362; Geor., IV, 507-510,522. 
 
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99. 
 
 Like Orpheus in a long white robe, Lau. , V, 261; Aen . 
 
 VI, 645, 
 
 Discord and Bellona on the battlefield stirring up strife 
 
 Lau., VII, 468; V, 302; , VIII, 700-703; 
 
 ”Au milieu des soldats la sanglante Bellonne 
 D’un fer rouill6 portraits horriblement felonne 
 Erroit avec Discorde, et d'un fouet sonnant 
 Alloit de see guerriers les coeurs ^poingonnant . " 
 
 " saevit medio in certamine Mavors 
 
 caelatus ferro, tristesque ex aethere Dirae, 
 et sciesa gaudens vadit Discordia palla, 
 quam cum sanguine© sequitur Bellona flagello.”^ 
 
 Taygetian hounds on Maenalus, Lau., V, 38; Peer . . Ill, 
 
 42-45. 
 
 Like Orestes driven by the Furies, Lau,, V', 344; Aen . . 
 
 Ill, 331. 
 
 The Sibyl's words on leaves, Lau., VI, 254; Aen . . Ill, 
 
 444-446. 
 
 The cruelty of the Myrmidons and the Dolopians, Lau,, I, 
 
 4. ; Aen . , II, 7 . 
 
 Phoebus wishes the name of the author on the page, Lau., 
 II, 158; VI, 96; ^. , VI, 11-12. 
 
 Phoebus' laurel which retains a song by heart, Lau., VI, 
 98; Ec., VI, 82-83. 
 
 Renomm6e, or Fame, the messenger of the false and the 
 true, Lau., I, 9j IV, 199; VI, 415; Aen . . IV, 188. 
 
 Various descriptions of Fame, Ronommee, or Opinion, Lau., 
 II, 248; III, 188, 217, 255-256, 509; IV, 218; V, 97, 260, 419,393, 
 Aen. . IV, 173-190, 666; VII, 512-514, 519-521; 
 
 ^Lau., VII, 468; A^. , VIII, 700-703. 
 
100 . 
 
 ”Sur le haut des oitez une femme debout^ 
 
 Qui VO it tout qui oyt tout et qui declare tout, 
 
 Elle a cent yeux au front cent oreilles en teate: 
 
 Dans les voutes du Ciel son visage elle arreste, 
 
 Et de ses pieds en terre elle presse les monte, 
 
 Une trompette enflant de ses larges poumons. 
 
 Je voy le peuple k foulle < acourir aupres d'elle." 
 
 " . . . . sedet custos aut summi culmine tecti,... 
 monstrum horrendum, ingens, cui, quot sunt corpore plumae 
 tot vigiles oculi subter.... 
 
 tot linguae, totidem ora sonant, tot subrigit auris.... 
 ingreditur..8olo et caput inter nubila condit." 
 
 "can it signum comuque recurvo 
 
 concurrvint undique 
 
 indomiti agricolae." 2 
 
 Cybele or the Berecynthian mother in her chariot pulled 
 by lions, Lau., V, 105, II, 236; Aen . . Ill, 111-113; VI, 784-787. 
 
 "Mere des Dieux ancienne 
 Berecynthe Phrygienne, 
 
 A qui cent Prestres ridez 
 Font avecques cent Menades 
 Au son du buis, des gambades 
 Au haut des sommets Idezt 
 Laisse laisse ta oouronne, 
 
 Que raainte tour envlronne, 
 
 Et ton mystere Orgien, 
 
 Et plus k ton char n* attache 
 Tas grands lions, et te cache 
 Dans ton antre Phrygian. " ^ 
 
 A crop of soldiers and lances springs up, Lau., I, 29; III, 
 252; V, 432; Gepr . , II, 142. 
 
 Deucalion’s tossing of the stones to start the human race 
 and Nature's laws decreed at that time, Lau., I, 137; II, 289, 413; 
 III, 344; VI, 133; Geor . . I, 60-63; Ec., VI, 41. 
 
 "Telles loix fit Dame Nature guide. 
 
 Lore que par-sur le dos 
 Pyrrhe seraa dedans le monde vuide 
 De sa mere les os." 
 
 ^Lau., Ill, 188; Aen., IV, 186, 181-183, 177; VII, 513, 520-531. 
 ^Lau., II, 236-237, 
 
VI, 278. 
 
 854-856. 
 
 101 . 
 
 "....has leges aetemaque foedera cartis 
 imposuit natura locis, quo tempore primum 
 Deucalion vacuiim lap ides iactavit in orbem."^ 
 
 Sleep, the brother of Death., Lau., II, 324; III, 335; Aen . 
 
 Sleep and its manner of working, Lau., II, 324; Aen . . V, 
 
 "Somme^le repos du monde. 
 
 Si d’un pavot plein de 1‘onde 
 Du grand fleuve oblivieux 
 Tu veux arrouser mes yeux, ..." 
 
 " deus ramum Lethaeo rore madentem 
 
 vique soporatum Stygia super utraque quassat 
 tempora, "5 
 
 The Cretan di ctamnus as the panacea, Lau., II, 408; Aen . . 
 
 XII, 412. 
 
 The Chalcideans who founded a colony at Cumae, the home of 
 the Siren, Lau., IV, 236; Aen . . VI, 2 and 17. 
 
 Salmoneus who tried to imitate Jupiter's lightning, Lau., 
 
 IV, 196; V, 31, VII, 431; Aen . . VI, 585-586. 
 
 Mercury's wand which awakes and puts to sleep, Lau., VI, 
 
 120; Aon., IV, 242-244. 
 
 Mercury, the messenger from Jupiter to the people on earth, 
 Lau., VI, 121; Aen . . I, 297; IV, 238. 
 
 Mercury on wings flies to earth like a bird, Lau., Ill, 495; 
 IV, 239; Aen . . IV, 253-255. 
 
 Trees favored by various gods, Lau*, I, 35, 154, 299; II, 
 339; Ec. , VII, 61-64; Geor . . I, 18; Aen., V, 72. 
 
 ^Lau. , II, 289; Cceor ., (oO-(qZj. 
 
 ^Lau., II, 324; Aen., V, 854-856. Cf. also IX, 436. 
 
102 . 
 
 Snakes for hair, Lau., I, 76; Aen . . VII, 329. 
 
 Aeolus, the king of the winds, Lau., I, 102,109;- Aen. , I, 
 
 65-66. 
 
 The home of the winds, Lau., IV, 219; V, 419; Aen . . I, 52-54, 
 
 Proteus changing form and sleeping on the sands, Lau., I, 
 131-132; III, 253; IV, 92, 141; Geor . . IV, 429-430; 437-442. 
 
 Caeneus, who changed from boy to girl, Lau., I, 236; Aen . . 
 VI, 448-449. 
 
 The flight of Icarus and Daedalus, Lau., I, 245; II, 321; 
 Aen. . VI, 14-17, 30-31. 
 
 Dryads dancing with Pan, Lau., II, 38, VI, 181; Ec. , V, 
 
 58, 59. 
 
 List of Hercules' deeds, Lau., II, 24; Aen . . VIII, 288-300. 
 
 Hercules' visit to Evander's realms, Lau., II, 32; Aen . . 
 VIII, 201-203. 
 
 The cutting off of her father's lock by Scylla who was 
 changed into a bird, Lau., II, 43; Ciris. entire poem, especially 
 
 II. 120-125 and 387-388. 
 
 "A tort les mensongers Poetes 
 Vous accusent vcus alouettes 
 D' avoir vostre pere hai 
 Jadis jusqu'a 1 'avoir trahi, 
 
 Ooupant de sa teste Royale 
 La blonde perruque fatale, 
 
 Dans laquelle un crin d'or portoit 
 En qui tout sa force estoit." 
 
 The hanging up of trophies, especially on a tree, as an 
 offering to the gods, Lau., II, 59; III, 218; V, 220; VI, 208; Aen . . 
 
 III, 286-287; XI, 5-7. 
 
 Juno's desire to prevent the refounding of Troy, Lau., II, 
 83; Aen . . I, 23-24, 29-31. 
 
103 . 
 
 Neptune rises from the water's depths, Lau., Ill, 245; 
 
 Aen . , I, 126-127. 
 
 The Tritons rise to chase the waves, Lau., II, 124, 444; 
 Aen. . I, 144; V, 824. 
 
 Tethys' waves, Lau., II, 188; Oeor . . I, 31. 
 
 River gods which arise to prophesy, Lau., II, 194; III, 
 290; VI, 239; Aen., VIII, 31-35. 
 
 Lucina present at the birth of a child Lau., II, 238; Ec. . 
 
 IV, 8-10. 
 
 The realms of Venus, - Cyprus, Paphos, Cythera, Lau., II, 
 344; , I, 415 , 622 , 680. 
 
 The Xanthus filled with blood and dead bodies, Lau., II, 
 352; III, 278; Aen . . V, 807-808. 
 
 Harpies snatching away food from mortals, Lau., IV, 169, 
 173; Aen., Ill, 225-228. 
 
 The goose which warned Rome of the approach of the Gauls, 
 Lau . . V, 61; Aen . . VIII, 655-656. 
 
 Arethusa and Alpheus, Lau., V, 292; Aen . . Ill, 694-696. 
 
 A shade prophesying, Lau., VII, 224-225; Aen., II, 270 ff; 
 
 775 ff. 
 
 Casting a snake in one's bosom, Lau. ,7^375; Aen . . VII, 
 
 346-351: 
 
 "Ainsi disoit ce monstre^ et arrachant soudain 
 Un serpent de son doz, le jetta dans le sein 
 De Luther estonn4: le serpent se desrobe^ 
 
 Qui glissant lentement par les plis de sa robe 
 Entre sous la chemise, et coulant sans toucher 
 De ce moyne abuse ny la peau ny la chair, 
 
 Luy soufle vivement une ame serpentine^ 
 
 Et son venin mortel vomist en sa poi trine 
 L ' enracinant au coeur ; ..." 
 

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104 . 
 
 "huic daa oaeruleis unum de orinibus anguera 
 oonioit, inque sinur/i praeoordia ad intima eubdit, 
 quo furibunii domura monstro permisoeat omnem. 
 ille inter vestis et levia pectora lapsus 
 volvitur attactu nullo fallitque furentem, 
 viperaam inspirans animeun;" 
 
 Figures embroidered in clothes, Lau., II, 258; Aen . , I, 
 
 648; V, 250 ff. 
 
 The painting of deeds on the walls of a temple, Lau., VI, 
 260; ^., I, 455 ff; VI, 20 ff. 
 
 Catching the last breath from the lips of a dying person, 
 Lau., V, 276; , IV, 684-685. 
 
 The warrior maiden Camille, Lau., VI, 324; Aen . . VII, 803; 
 XI , 432, etc. 
 
 A description of arms, Lau., V, 22-23; Aen . . VIII, 626 ff. 
 
 Cassandra whose prophecies were not believed, Lau., I, 116; 
 Aen. . II, 246-247. 
 
 A great many references to Hades as found described in the 
 
 booK 
 
 sixth^of the Aeneid : 
 
 The monsters and sights, Lau., IV, 264-265; V, 317, 324; 
 
 Aen . . VI, 268 ff: 
 
 ”Puis tout ainsi ^ue s'elle avoit les ailes 
 Du fils de Maia a I'entour des aisselles. 
 
 Vole aux Enfers, et recognoist la bas 
 Ce qui est vray^et ce qui ne I'est pas: 
 
 Elle oognoist AEaque et Rhadamanthe, 
 
 Le Sort, la Cruche, et leur loy violante: 
 
 Elle cognoist la Roue et les Vautours, 
 
 Et du Rocher les tours at les retours:,... 
 
 Elle oognoist Cocyte et Phlegethon, 
 
 Styx et Charon, et des ames pris^es 
 Les beaux sejours aux pleines Elys^es, 
 
 Et les plaisirs, et les toormens souffers 
 Que gravement les Juges des Enfers 
 Dedans leur chaire ordonnent sans envie 
 A ceux qui J|dis furent bons de vie, 
 
 Ou entaohez^e vicisux defaut."S 
 
 ®Lau . , 
 
 IV, 264.-265, 
 
105 . 
 
 The myrtle groves or fields for lovers, Lau., I, 33, 263, 
 316, , 346, 364; IV, 20, 23, 72, 137; V, 166, 277, 307, 324; VI, 
 
 28, 101, 203; VII , 409; , VI, 440 ff. 
 
 Drinking the water of Lethe, the stream of forgetfulness, 
 Lau., II, 203; VI, 119; AejQ.. , VI, 703 ff. 
 
 Stook punishments of the underworld, Lau., I, 22, IV, 85, 
 92, 370, etc.; Aen. , VI, 571 ff. 
 
 Rhadamanthus the judge, Lau., II, 192: Aen . . VI, 566. 
 Sacrifice to the gods of the underworld -■ black animals, 
 Lau., II, 216; ken,, VI, 243 ff. 
 
 The disfiguration of the shades of the underworld, Lau., V, 
 84; Aen . . VI, 494-497. 
 
 The nine folds of the Styx, Lau., II, 328; VI, 203; Aen . . 
 
 VI, 439. 
 
 The heroes exercising, Lau., V, 268; Aen . . VI, 642 ff. 
 
 The body of a giant stretched over acres of land, Lau., V, 
 437; Mr,, VI, 596-597. 
 
 The throng standing on the banks of the underworld river 
 stretches out its arms for the other shore, Lau., I, 173; II, 436; 
 VI, 155; Aen., VI, 313-314, 305. 
 
 PHASES OF LOVE 
 
 Love, the unjust tyrant, Lau., I, 15; Aen . . IV, 412. 
 
 Love, unmoved by tears, Lau., I, 74, Ec. , X, 29-30. 
 Enchantments of love, - wax image thrown backwards over the 
 head, Lau., II, 271; ^. , VIII, 73-75, 80, 102. 
 
 The fury of love in animals, Lau., II, 211; III, 266; VII, 
 474; Qeor . . Ill, 222-223; 253-254; 269-274; 276-277: 
 
106 . 
 
 ”Qui 9 ^ qui Ik vagabons d'avanture 
 Poussent dehors oeste flame si dure, 
 
 Dont trop d’amour espoinjonne leur flanc 
 Quand le printemps fait tieder nostre sang. 
 
 Ny les torrens^ni les hautes montagnes, 
 
 Taillis ronceuXj sablonneuses campagnes. 
 
 Rocs opposez n'empeschent point leurs oours: 
 
 "Tant furieux est I'aiguillon d 'amours I 
 La reschaipfez de flamme mutuelle, 
 
 Et bondissans dessus I’herbe nouvelle 
 Sans se souler, so it de nuit soit de ;jour 
 Aiment Venus: les rochers d'alentour 
 Frapez du cry de ces boeufs qui mugissent, 
 
 De sons aigus au ciel en retentissent 
 Centre - muglans:" 
 
 "illas ducit amor trans Gargara transque sonantem 
 Ascanium; superant mentis et flumina tranant. 
 continuoque avidis ubi subdita flamma medullis 
 (vere magis, quia vere calor redit ossibus), illae 
 ore omnes versae in Zephyrum stant rupibus alt is 
 
 exoeptantque levis auras, 
 
 saxa per et scopulos et depreesas oonvallis 
 diffugiunt " 
 
 "non scopuli rupesque cavae atque obiecta retardant 
 flumina correptoaque unda torquentia mentis. 
 
 A bird singing its grief, Lau., I, 58, 188; VI, 92; 
 
 Geor . . IV, 511-515. 
 
 Mares pregnant in the wind, Lau., 113, VI, 91; Geor . . 
 
 Ill, 275. 
 
 Everything in love, Lau., I, 152, Geor . . II, 329, III, 
 
 242, 244. 
 
 The fickleness of woman, Lau., I, 127, V, 82; Aen . , IV, 
 
 569-570 . 
 
 83. 
 
 The absent lover present in fancy, Lau., IV, 44; Aen . . IV, 
 
 The lover in despair plunges into the waves, Lau., IV, 34; 
 Ec. , VIII, 59-60. 
 
 7Lau. ,VII .474; Geor . . Ill .269-274. 276-277, 253-354. 
 
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107 . 
 
 Cursing the gift of eternal life which prevents death to- 
 gether with a loved one, Lau., V, 293; Aen . , XII, 879-881. 
 
 Hardness of heart especially as the result of suckling by 
 a wild animal, Lau., I, 111, 127, 133, 146; III, 505; IV, 71, 130; 
 V, 82; Aen . . IV, 366-367; Ec. , VIII, 49-50. 
 
 A fever burning up the marrow, Lau., II, 175; Geor . , III, 
 
 215. 
 
 The difficulty of deceiving a lover, Lau., Ill, 221; Aen., 
 
 IV, 296. 
 
 Denxinciation of a lover or perjurer, Lau., Ill, 216, 222- 
 233; V, 63, 66, 67, 386; Aen* > 3LV, 305 ff.; 365 ff; 590 ff; 
 
 "Je te seray defuncts un fantosme hideux, 
 
 Je rompray ton sonmieil, et contre toy raarrie 
 Je te suivray tousjours importune, ^rie, 
 
 Te donnant a manger ton fils pour^°repas; 
 
 Ainsi doux (me vengeant) me sera le trespasJ" 
 
 ” sequar atris ignibus absens 
 
 et, cuim frigida mors anima seduxerit artus, 
 omnibus umbra locis adero. . . . 
 
 non ipsum absumere ferro 
 
 Ascanium patriisque epulandum ponere mensis?"® 
 
 .."est-oe la recompense 
 Que tu me do is de t' avoir receu nu, 
 
 Naufrage vif a ce bord incognu?" 
 
 ” ei sc turn litore, egentem 
 
 except et regni demens in parte locavi."^ 
 
 "^echant Grec, bien petite est la gloire 
 Quand deux trompeurs ensemble ont la victoire 
 Sur une femme au coeur simple et benin 
 
 "egregiam vero laudem et spolia ampla refertis 
 tuque puerque tuus; magnum et memorabile numen, 
 una dole divura si femina victa duoriim est.”^^ 
 
 ^Lau., Ill, 323; A^. , IV, 384-386 , 601-602. 
 
 9Lau., V, 63; Aen . . IV, 373-374. 
 lOLau., V, 66; ^. , IV, 93-95. 
 
108 . 
 
 "Puis qua Meroura est descendu pour toy, 
 
 Je ne veux plus te retenir chez moy." 
 
 " nunc augur Apollo, 
 
 nunc Lyciae sortes, nunc at love missus ab ipso 
 interpres divum fart horrida iussa per auras. 
 
 "Disant ainsi^tout la ooeur luy faillit, 
 
 Un tremblement sa poitrine assaillit. 
 
 La coeur luy bat, alia se pasma touts," 
 
 "his medium diotis sermonem abrumpit.... 
 
 . . . . suscipiunt famulae conlapsaque membra 
 marmoreo referunt thalamo stratisque reponunt."!^ 
 
 "Las! si au moins, homme mechant et fin, 
 
 J'avois au ventre un petit Ulyssin, 
 
 Qui te samblast, je serois confort6e 
 M ' esjouyssant d'une telle portae.... 
 
 Attens au-moins 
 
 Inexorable impitoyable et rude, 
 
 Qui pour le bien m'uses d' ingratitude, 
 
 Coeur de lion, de tigre et de rocher." 
 
 "saltern si qua mihi de te suscepta fuisset 
 ante fugam suboles, si quis mihi parvulus aula 
 luderet Aeneas, qui te tamen ore referret, 
 non equidem omnino capta ac deserta viderer. . . . 
 tempus inane peto, .... 
 
 perfide, .... duris genuit te oautibus horrens 
 Caucasus, Hyroanaeque admomnt ubera tigres."^3 
 
 THE MUSES AND THE WRITING OF POETRY 
 Bringing back the Muses, Lau, , II, 269; Geor . . Ill, 10,11. 
 Alone in the shade, especially before a cave, singing of 
 one's love, Lau., VI, 92; I, 7, 280, 292; II, 199, 214, 436; III, 
 460;1V, 43;Y;88; ^. , I, 3-5, 75; II, 3-5. 
 
 "I (or my friend) first led the Muses or brought glory to 
 my country", Lau., V, 147, 166; VI, 125; ^. , VI, 1; Geor . . 111,10. 
 
 ^^Lau., V, 67; Aen . , IV, 376-378. 
 
 IjLau., V, 68; Aen. . IV, 388, 391-392. 
 
 13Lau., V, 69; A^. , IV, 327-330, 433, 366-367. 
 
109 . 
 
 "I shall not sing of princes and greedy sailors", Lau., 
 
 VI, 130; Geor . . II, 495 ff. 
 
 "May I sing as long as I live", Lau., VI, 131; Geor . . II, 
 
 475-476. 
 
 "Sing no more, hoys", Lau., I, 335; , III, 111. 
 
 "I shall sing new verses", Lau,, II, 278; Geor . . Ill, 8-9, 
 
 291-293. 
 
 "Another than I will sing of your combats", Lau., IV, 203; 
 Ec., VI, 6. 
 
 "A day may come when I shall sing of wars and great deeds" 
 Lau., VI, 268; Ec. , IV, 53-54. 
 
 TIME AND SEASONS 
 
 The heat of the Dog star, Lau., II, 427; VII, 504-505; II, 
 200; IV, 91; V, 29, 171; VI, 207, 210; Geor . . II, 353; IV, 425-426. 
 
 The heat of summer which causes the shepherds' early de- 
 parture for the woods, Lau,, VII, 507; Geor . . Ill, 324-325. 
 
 Melting of ice in spring, Lau,, II, 423, VI, 135; Geor . . 
 
 I, 43-44. 
 
 The rainy season and what the farmer then should do, Lau., 
 
 II, 281; Geor . . 1, 356-359, 259-261: 
 
 "Puis que d'ordre a son rang I'orage est revenu^ 
 
 Si que le ciel voile tout triste est devenu 
 Et la vefve forest branle son chef tout nu 
 Sous le vent qui I'estonne: 
 
 C'est bien pour ce jourd huy (ce^semble) raison^ 
 
 Qui ne veut offenser la loy de la saison^ 
 
 Prendre a gre les plaisirs que tous lours la maison 
 Enltemps pluvieux donne." 
 
110 . 
 
 Ploughing time when earth feels the touch of spring, Lau. , 
 
 II, 356j Geor « , I, 44—46. 
 
 Spring, Lau,, IV, 66; V, 265; VII, 444; Geor., I, 43; II, 
 
 323 ff. 
 
 The time of night when repose is sweetest and true dreams 
 occur, Lau., IV, 117; Aen . , II, 268-270. 
 
 The succession of the seasons, Lau., IV, 301-302; VI, 91; 
 Geor . . I, 311-315; II, 319-322, 519-523, 
 
 The heat of s-ummer which bursts open the land, Lau., V, 
 
 64; Geor . . II, 353. 
 
 Wintry winds struggling together, Lau., VI, 410; Aen . . 
 
 356-358. 
 
 Spring and love appear together, Lau., I, 196; Geor . . Ill, 
 
 S72. 
 
 Approach of night and night itself, Lau,, II, 65; 
 
 . Aen,, IV, 77, 80, 81; III, 147; IV, 522. 
 
 Night when everything reposes or everything except an 
 anxious lover, Lau., Ill, 213; IV, 30; Aen., IV, 80-83; V, 835-836, 
 854-855; VIII, 26-27; 
 
 "II estoit nuict fermee, et les hommes lassez, 
 
 Dessus la plume oisive avoyent les yeux presses^ 
 
 Enfermez du sommeil, que la basse riviere 
 De Styx fait distiler desur nostre paupiere. 
 
 Ja les Astres au Ciel faisoyent leur demi-tour: 
 
 Le celeste Bouvier qui se roule a I'entour; 
 
 De I’Ourse, estoit panche: tout ce qui vit es ondes,... 
 
 Poissons, Serpens, Lions, du labeur travaillez, 
 
 Oublians le souci du somrne estoyent sillez. 
 
 Un seul Mars veille au Ciel, qui plein de frenaisie 
 De rage, de fureur, d'ire, et de jalousie, 
 
 Ny d'yeux ny d’estomac ne rs 9 oit le sommeil."!^ 
 
 14Lau., IV, 30 and see note 5 of this section. 
 
111 . 
 
 OMENS AND PREDICTIONS 
 
 Fire starts of itself on an altar, Lau., II, 370; , 
 
 VIII, 105-106. 
 
 Flash of lightning, favorable on left, ominous on right, 
 Lau., I, 11, IV, 193; VII, 226; A^. , II, 692-693. 
 
 Warnings from heaven, Lau., V, 201; Ceor . . I, 464-465, 
 481-483, 487-488; 
 
 "Mais avant sa venue, en cent mills presages 
 Le Ciel nous fait certains de nos future dommages. 
 
 Sans nue en temps serein a dextre il fait tenner. 
 
 Par I'obscur de la nuict il nous vient estonner 
 D'un grand chevron de feu, qui hideux le traverse. 
 
 Puis dessus quelque ville il torabe k la renverse: 
 
 La Comete aux grands orins tous sanglans et ardans 
 Predit de nos malheurs les signes evidans; 
 
 Loire enfle de ruisseaux de son canal feurvoye^ 
 
 Et la Seine les champs de la Bourgogne noye:" 
 
 Comets as omens, Lau., I, 345; II, 224; Ceor . . I, 487-488. 
 
 The effect of the evil eye, Lau., I, 351; III, 435; Ec. . 
 
 Ill, 103. 
 
 Birds' cries as prognostic of rain, Lau., II, 201; Geor . . 
 
 I, 388. 
 
 Howling of animals at night through a city, Lau., IV, 
 
 223; Geor . . I, 469-471, 486. 
 
 Earth terrified by frightful cries and noises, Lau., IV, 
 206; A^., VII, 512-515. 
 
 Future foretold by animals, Lau., V, 58-60; VII, 488; Geor . , 
 I, 374 ff. 
 
 The death of a prince followed by such ominous events as 
 
 the sun's hiding its face, wars, and famine, Lau., V, 256, 360; VI, 
 615V^390-392; Geor . . I, 466-468, 490-492, 505-507. 
 

112 . 
 
 Weather predictions and signs, Lau., VI, 218, 282, 303; 
 Geor . . I, passim . 
 
 Fires at night as omens, Lau., VI, 4D4; Geor . . I, 473, 
 
 487-488. 
 
 Light gleaming around the head as omen, Lau., VI, 418; 
 Aen. , II, 682-684. 
 
 THE GOLDEN AGE 
 
 Golden Age, described often as followed by iron age, Lau., 
 
 I, 206; 
 
 II, 11, 173-174, 419, 
 
 441, 
 
 446; 
 
 III, 
 
 250-252, 
 
 304-305, 
 
 
 373- 
 
 374, 
 
 472, 
 
 476; IV, 45-47, 
 
 204- 
 
 207; V 
 
 , 30 
 
 -31, 136, 
 
 154-155, 
 
 161, 
 
 196; 
 
 VI, 
 
 149; 
 
 VII, 489; Ec., 
 
 IV. passim; 
 
 V, 
 
 60; VI, 41 
 
 ; Geor . . 
 
 I, 
 
 185, 
 
 146 
 
 
 II, 336 ff, 474, 
 
 537; 
 
 Aen. , 
 
 VI, 
 
 792; VIII 
 
 , 324.^® 
 
 
 The Golden Age introduced by some person, Lau., Ill, 230, 
 
 479; VI, 310, 431; , IV, 4 ff.; A^. , VI, 792-794: 
 
 "Qui,comme Auguste, apres la longue guerre 
 As ramen^ I’age d'or sur la terre," 
 
 "Augustus Caesar, Divi genus, aurea condet 
 saeoula qui rursus Latio rognata per arva."^° 
 
 The departure of Justice, Lau., II, 321, 352, 441; IV, 
 
 47; V, 34; Geor., II, 474. 
 
 Earth produces without labor, Lau., I, 365; ^. , IV, 18-20. 
 
 15The Golden Age is, of course, described at greater length, by 
 some of the ancient poets than by Virgil, but many of the points 
 of Ronsard's conceptions are the same as Virgil's. 
 
 l^Lau., VI, 310; . , VI, 792-794. 
 
113 
 
 Earth produces all things, Lau., VII, 431; , IV, 39-40. 
 
 Justice prefers the woods to palaces, Lau., II, 4; IV, 
 
 53, 266; Geor . . II, 473-474. 
 
 Justice will return under the new king, Lau., IV, 213; 
 
 Ec., IV, 6. 
 
 OTHER pastoral IDEAS AND EXPRESSIONS 
 
 Consolation in nature, Lau., I, 81, 151; II, 285, 326; IV, 
 40; Ec., II, 3-5; X, 35-36; Geor . , II, 493-494. 
 
 Rugged oaks bear flowers, Lau., I, 74; Eg., VIII, 52, 
 
 The birth of a child with predictions of greatness, Lau., 
 II, 12, 259; III, 478; IV, 192-193; V, 135; VI, 16; E^, IV. 
 
 Draught of Achelous combined with another wine, Lau., IV, 
 355; Geor . , I, 9. 
 
 a 
 
 Garlands fallen from head of ^sleeping person, Lau., V, 
 
 169; Eg., VI, 14-16. 
 
 Bees which love the flowers, Lau., II, 285; E^. , X, 29-30; 
 
 V, 77. 
 
 Slaking one's thirst on a summer's day, Lau., II, 285; 
 
 Eg., V, 46-47. 
 
 Nature which shares the ftelings of men, Lau., I, 220; IV, 
 25, 34; II, 285; Eg., I, 38-39; V, 62-64; X, 13-15. 
 
 Calling stars and gods cruel, Lau., VI, 137; Eg., V, 23. 
 Exaltation to the stars, Lau., I, 11, 99, 66; II, 6; 
 
 V, 241, 321; VI, 175; Eg., V, 52; Geor .. I, 32-35. 
 
 Eg., V, 
 
 A new citizen of heaven imposes new laws, Lau., II, 188; 
 79-80 . 
 
114 . 
 
 Something impossible is more likely to happen than that a 
 shepherdess desert her lover, etc., Lau. , I, 14, 26-27, 72, 74; II, 
 300, 450; IV, 134; Ec . , I, 59-63; VII, 55-56; VIII, 27-28; 52-56, 
 Flowers growing up where the shepherd's sweetheart has 
 passed, Lau. , I, 21, 109, 197; III, 291, 473; Ec. , VII, 57-60. 
 
 As long as various things endure, Lau., I, 26, , V, 
 
 76-78. 
 
 Verses on trees, Lau., I, 30, 299; V, 220; VI, 10; Eo . . 
 
 V, 13-14; X, 53-54. 
 
 Fetters made of garlands, Lau., I , 43;Il360; Eo,, VI, 19, 
 Annual offerings, sacrifices or games, Lau., I, 61, 335, 
 299, II, 75; IV, 40; V, 277; VI, 259; Ec , , I, 42-43; V, 67-68, 79- 
 80; VII, 33; Aen., V, 46-47. 
 
 Deification after death, Lau., I, 219; , V, 79-80; 
 
 Geor, , I, 24-25. 
 
 The fly which makes cattle run in summer, Lau., I, 183; 
 
 V, 399; VII, 195; Geor .. Ill, 149-151. 
 
 A vine clinging to an elm, Lau., I, 259, 278, 363; 11,312; 
 III, 193; IV, 5, 69, 58, 76, 140; VI, 138; Ec. , II, 70; V, 32; 
 Geor., I, 2; II, 221. 
 
 Renewal of youth of serpents in spring, Lau., I, 317; II, 
 204; V, 265; VI, 11; Aen., II, 471-474. 
 
 Fish left on the dry sand, Lau., II, 289; ^. , I, 60. 
 
 Happy the one who lives in the country and is free from 
 worldly lusts, Lau., II, 348; V, 33, 80, 147; Geor . . II, 458 ff. 
 
 At evening the wearied oxen return home, Lau., V, 72; 
 
 VI, 297; ^., II, 66-67. 
 
Tf ai -ram i 
 
 
115 . 
 
 Dust thrown by a shepherd to catch a butterfly, Lau., V, 
 219; Geor . . IV, 87. 
 
 Honey on oaks, Lau., V, 220; ^. , IV, 30. 
 
 Actions of cows, Lau., VI, 94; Geor . . Ill, 217-219 and 
 
 passim . 
 
 Flock spying on antics of ^Kepherds^ Lau. , VI, 174; Ec . , III, 
 
 8 . 
 
 Riddles in poetry, Lau., Ill, 437; ^. , III, 104-107. 
 
 FIGURES^"^ 
 
 A. Axiomatic statements: 
 
 Continuous labor conquers everything, Lau., VI, 16; Geor . . 
 
 I, 145. 
 
 By such a road one goes to heaven, Lau., VI, 100; Aen . . 
 
 IX, 641. 
 
 The conqueror is often conquered by the vanquished, Lau., 
 
 I, 264; Aen., II, 367-368. 
 
 Shun ambitious gold, Lau., I, 250; Aen . . Ill, 56-57. 
 
 A cowardly soul does not hazard itself, Lau., II, 114; 
 
 Aen . . IV, 13. 
 
 Immense is the labor before glory is attained, Lau., II, 
 217; Geor . . Ill, 288. 
 
 ^"^There are many other f igure^esides those cited which are to be 
 found in both Ronsard and Virgil, but it is practically impossible 
 to determine how much Ronsard was influenced by Virgil in them 
 since they are used by all ancient writers. F. Kohler ( Die Allit- 
 teration bei Ron sard . Erlangen und Leipsif*, 1901) has treated 
 Ronsard’ s use of alliteration in great detail. A number of other 
 figures are menliioned elsewhere in this section. 
 
116 . 
 
 Easy is the descent to hell, Lau. , II, 338; Aen . . VI, 
 
 136-127. 
 
 Each one follows his own desires, Lau,, III, 510; Ec. . 
 
 II, 65. 
 
 B. Similes and Comparisons 
 
 Like a frail ship at sea, Lau., I, 28, III, 282; Clris . 
 
 479-480. 
 
 Like an animal free in the open air, Lau., I, 29, III, 
 281; A^. , XI, 492-497. 
 
 Like the myriad colors of a rainbow, Lau., I, 31; Aen . . 
 
 V, 88-89. 
 
 Like wax melting in a flame, Lau., I, 55, 77, 181; IV, 
 
 18, 70; Ec. , VIII, 80-81. 
 
 Like a rock beaten by winds and waves, Lau., I, 71^ III, 
 266; IV, 335; V, 86, 383, 416; VI, 363, 410; Aen . . VII, 586-590; 
 
 X, 693-696. 
 
 Like waves advancing and retreating, Lau., I, 93; II, 386; 
 
 III, 248; Am., XI, 624-628. 
 
 Like a jewel, Lau., I, 129; Aen . . X, 134-135. 
 
 Like a flower beaten down by a shower, Lau., I, 182, 216; 
 II, 280; V, 245, 249; Aen., IX, 436-437. 
 
 Like li^t shining on water, Lau., II, 66; Aen . . VIII, 
 
 22-25. 
 
 Vanishing like smoke, Lau., II, 67, II, 324, 423, 454; III 
 296, 342; Geor . . IV, 499-500. 
 
 Like wild animals driven by hunger to great slaughter, 
 Lau., II, 105; Aen., II, 355-357; IX, 339-341. 
 
117 . 
 
 Like a flock of s’-vans or cranes in a squadron, Lau., II, 
 143; III, 507; Aen . , VII, 699^ 700. 
 
 Like a tree rising above its neighbors, Lau., II, 25^'j IV, 
 195; VII, 457; Ec • > I » 25. 
 
 Like grain tossing in the wind, Lau., II, 299, 372; Geor . . 
 Ill, 196-199. 
 
 Like a shooting star or comet, Lau., II, 62, 389; III, 198, 
 V, 29; Aen . . V, 527-528; Geor . . I, 365-367. 
 
 Like a mountain torrent which sweeps away everything in its 
 path, Lau., Ill, 264; IV, 32; V, 45, 141, 266; Aen., XII, 523-525; 
 II, 305-307; Gcor . . I, 481-483. 
 
 Like phantoms of the dead, Lau., HI, 335; Aen., X, 641. 
 
 Like Diana leading her chorus, Lau., Ill, 330; Aen . . I, 
 
 498-500: 
 
 "Comme paroist Diane la Deesse 
 Par-sur lecKoeur de see Nymphes sautant, 
 
 Quand pres d'Eurote elle va s’esbatant." 
 
 "qualis in Eurotae rip is aut per iuga Cynthi 
 exercet Diana chores, quam mills secutae 
 hinc atque hinc gloraerantur Oreades " 
 
 Like a man calming a riot, Lau., IV, 94-95; Aen . . I, 148- 
 
 153: 
 
 ”Tout ainsi qu’il advient quand une tourbe esmue 
 QUi de 9 a qui dela ardente se remue 
 De courroux forcen^e, et d'un bras furieux 
 Pierres, flames et dards fait voler jusqu'aux cieux: 
 
 Si de fortune alors un grave personnage 
 Survient en telle esmeute, elle abat son courage, 
 
 Et d’oreille dress6e elle s'arreste coy, 
 
 Voyant ce sage front paroistre devant soy 
 Qui doucement la tance, et d’un gracieux dire 
 Luy flatte son courage et tempers son ire.” 
 
I 
 
 i' 
 
 ( • 
 
 s 
 
 A 
 
 
 
118 
 
 ”ac veluti magno in populo cum saepe coorta est 
 seditio, saevitque animis ignobile volgus, 
 iaraque faces et saxa volant (furor arma ministrat), 
 turn pietate gravem ac meritis si forte virum quern 
 conspexere, silent arrectisque auribus adstant; 
 ille regit dictis animos et pectora mulcet." 
 
 Like wind or a dream, Lau. , I, 305; II, 324, 454; IV, 169 
 194; Aen., VI, 702. 
 
 Like a storm which drives the sea, Lau., V, 256, 406; 
 Geor . . Ill, 200-2O1; Aen., VII, 528-530; X, 356-359. 
 
 Like hail, Lau., VII, 433; Geor., IV, 80; , V, 458; 
 
 VI, 669. 
 
 Like the workmen of Vulcan, Lau., V, 146; Geor . . IV, 170- 
 
 175. 
 
 Like the fall of a great tree, Lau., V, 284; Aen. . V, 
 
 448-449. 
 
 Like a forest fire started through the carelessness of a 
 shepherd, Lau., IV, 183; VII, 445; Aen., X, 405-409; Geor . . II, 
 303-311: 
 
 ”Comir.e on voit bien souvent (quand un Pasteur qui garde 
 Ses troupeaux dans un bois, et laisse par mesgarde 
 Choir en un chesne creux quelque tizon ds feu_, 
 
 La flame en tournoyant s’augmente peu a peu 
 le commencement, plus le feste s’allume. 
 
 Puis touts la forest s'embraze et se consume) 
 
 Un rapli de fumee entre-suivi de pres. 
 
 Puis un autre et un autre, et puis un autre apres 
 Se voute en ondoyant:"!^ 
 
 ”Ainsi qu'on voit souvent 
 De petite estincelle a 1 'abandon du vent 
 S'eslever un grand feu, qu’un Pasteur par mesgarde 
 Laisse tomber au bois: 1' estincelle se garde 
 Dans I'escorce d'un arbre, et tous;jours peu h. peu 
 Se repaist de soy-mesme, et nourrist \in grand feu: 
 Jusqu'au sommet des pins le braisier se va prendre,... 
 Le Pasteur estonne cache soubs un rocher 
 De bien loin voit la flamme et n'en ose aprocher."^^ 
 
 18Lau., IV, 183. 
 
 ^®Lau., VII, 445. 
 
119 . 
 
 Swift as lightning, Lau. , I, 268; Aen . . XI, 718. 
 
 Swifter than an arrow, Lau., I, 1C; Aen . . X, 248. 
 
 Numerous as flakes of snow, Lau., II, 396; Aen .. XI, 611. 
 
 It is easier to join Scotland to Arabia, India to the Oc- 
 cident than to restrain one’s desires, Lau., VI; 140; ]^., I, 62-63. 
 
 MISCELLANEOUS 
 
 A priestess mad from divine inspiration, described at 
 times with her exorcisms, Lau., I, 15; II, 82, 219; III, 188; 
 
 IV, 6; V, 45 , 401; VI, 144, 184; ^. , VI, 46 ff., 77 ff., 
 
 258 ff. 
 
 Paraphrase of lines ascribed to Virgil in Vi ta VirgilU 
 
 (^17) by Donatus, Lau., Ill, 273; VI, 24: 
 
 ”Ainsi les gros toreaux vont labourant la plains, 
 
 Ainsi les gras moutons au dos portent la laine, 
 
 Ainsi la raousche a miel en son petit estuy 
 Travaille en se tuant pour le profit d'autruy.” ^ 
 
 Figurative expression of dawn - Aurora leaving the saffron 
 
 couch of Tithonus, Lau., I, 45; III, 221; IV, 315, 307; V, 83, 152; 
 
 Gepr. , I, 447; Aen . . IV, 585; IX, 460. 
 
 The spirited war horse, Lau., Ill, 248; II, 111; Geor . . 
 
 II, 145. 
 
 The English separated from the rest of the world, Lau., II, 
 152; VI, 111; ^., I, 67. 
 
 20Lau. , III, 273. The Latin words are; 
 
 "Sic VOS non vobis fertis aratra boves. 
 
 Sic VOS non vobis nidificatis aves. 
 
 Sic VOS non vobis mellificatis apes 
 Sic vos non vobis vellera fertis oves." 
 
 These lines were printed at the end of the Eclogues et Mascarades 
 of the 1587 edition. 
 
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ISO. 
 
 The truth of antiquity, Lau., VI, 136; Aen . . IX, 79. 
 Snatching (generally three tiroes) at a phantom, as in a 
 dream, and getting nothing, Lau., I, 15, 179, 291; IV, 104; V, 165, 
 325, 364; Aen., II, 792-794; VI, 700-701. 
 
 Earth present at a contract, Lau., I, 261; Aen . . IV, 166- 
 
 167. 
 
 Immortality to be gained by those mentioned in a poem, 
 
 Lau., I, 296, II, 6, 455; ; Aen., IX, 446-449; X, 791-793. 
 
 Referenoe to the Trojan war as the strife which confound- 
 ed all Europe and Asia, Lau., I, 299; Aen . . VII, 224; X, 91. 
 
 The king (or his son) will extend the boundaries of France: 
 may I be the singer of his deeds, Lau., II, 73, 90; VII, 226; Ec. . 
 IV, 53-54; Aen . . I, 287; VI, 801-805. 
 
 Boyhood paraphrased - as soon as you can learn to read, 
 Lau., II, 260; Ec. , IV, 26-27. 
 
 Youth paraphrased - when the cheeks are covered with soft 
 yellow hair, Lau., Ill, 238; IV, 27; V, 249; Aen . . X, 324. 
 
 Glorification of various countries, Lau., II, 409; III, 
 
 248; IV, 64, 195; Geor . . II, 136 ff. 
 
 Earth united with Heaven or Jupiter to produce spring, 
 
 Lau., Ill, 308; IV, 300; Geor . . II, 325-327. 
 
 A wounded deer seeks the herb which is the panacea for 
 animals, Lau., IV, 15; Aen . . XII, 414-415. 
 
 ”Thou art not a mortal, but a goddess'*, Lau., IV, 120; 
 
 Aen . . I, 327-330: 
 
 "D6esse approche toy, conte moy ta vertu, 
 
 D'ob. os-tu? d'oti viens-tu? et ou te loges-tu? 
 
 A voir tant seulement ta brave contenance, 
 
 D'un pauvre laboureur tu n'as prins ta naissance: 
 
121 . 
 
 "Tes mains, ton front, ta face et tee yeux ne sont paa 
 Semblables aux mortels ici bas." 
 
 "o - quam te mernorem, virgo? namque baud tibi voltus 
 mortal is, nec vox hominem sonat; o dea oerte! 
 an Phoebi soror? an Nympharum sanguinis una? 
 sis felix nostrumque leves, quaecumque, laborem," 
 
 A ship rowed smoothly over the sea out of sight of land, 
 Lau., IV, 184; Aen . , I, 34-35; V, 2, 8-9. 
 
 "Adoncque^ la gal ere egalement tiree 
 Alloit a dos rompu dessus I'onde azur^e, 
 
 Et de longs pi is courbez s ' entre-coupant le dos 
 Se trainoit en ronflant sur les bosses des flos: 
 
 Le rivage s'enfuit, et rien n'est manifests 
 A leurs yeux que la mer et la voute oeleste." 
 
 If night had not taken pity, a same day would have finish- 
 ed the War and the nation, Lau., V, 284; Aen . . IX, 757-759: 
 
 ”Et si la nuict (bonne mere commune) 
 
 N'eust eu piti^ de si triste fortune,... 
 
 Un mesme soir par mesme destin^e 
 Avoit finy la guerre et leur journ^e." 
 
 "et si continue victorem ea cura subisset, 
 nimpere claustra manu sociosque immittere portis, 
 ultimus ills dies bello gentique fuisset." 
 
 Happy those who died in their native oo\mtry, Lau., V, 
 
 244; Aen., I, 84-98; 
 
 "C)/trois fois grand esprit heureux entre les Dieux, 
 
 Estoile des ^Francois^ tu dois estre joyeux 
 D' avoir paye ta aebte au giron de ta mere, 
 
 Et de n’ estre couvert d'une terre estrangere." 
 
 "0 terque quaterque beati, 
 quis ante ora patrum Troiae sub moenibus altis 
 contigit oppetere! 0 Danaum fortissimo gentis 
 Tydidel mene Iliacis occumbere oampis 
 non potuisse tuaque animam hano effundere dextra," 
 
 Instructions to cease spending time in idleness, Lau., V, 
 
 374; Aen., IV, 265-2'IS: 
 
122 . 
 
 “Mon filsj il ne faut plus qua tu laisses rouiller 
 Ton esprit en pareose, il te faut despoulller 
 Cost habit monstmaux. " 
 
 Dragging animls by their tails to hide their tracks, Lau., 
 
 VI, 32; Aen. . VIII, 209-211: 
 
 " les tirant par la queue, 
 
 Afin que de leurs pas la trace ne fust veue." 
 
 "atqua hos, ne qua forent pedibus vestigia rectis, 
 oauda in speluncam tractoe versisque via rum 
 indiciis rap to s saxo occultabat opaco." 
 
 Reechoing of name along a river bank, Lau., VI, 160; Geor., 
 IV, 525-527: 
 
 "Paschal Paschal Garonne resonnant, 
 
 Rien que Paschal ne responde sa rive." 
 
 " Eurydicen vox ipsa et frigida lingua, 
 
 a miseram Eurydicen! anima fugiente vocabat. 
 
 Eurydicen toto referebant flmine ripae." 
 
 Farmers will be shocked at finding so many bones, Lau., 
 
 VII, 433; Geor . . I, 493-497. 
 
 "Certes un temps viendra qu'aux champs de ce pais 
 Les laboureurs de la seront tous esbahys 
 De heurter de leur soc tant de..jClapitaines." 
 
 Mountain-top (personified) covered with ice or a beard 
 stiff with ice, Lau., VI, 156; IV, 327; Aen . . IV, 250-251; Geor . . 
 Ill, 366. 
 
 Ants at work, Lau., VI, 220; Aen . . IV, 402-407. 
 
 A field of grain destroyed by a storm, Lau., IV, 171; V, 
 24, 294; Geor . . I, 316-321: 
 
 "Las! qui verroit dans un gros labourage 
 Tomber du Ciel le malheureux orage, 
 
 Qui d'une gresle et d*un vent jusqu’au fond 
 Perdroit les bleds qui ja grandets se font 
 Tout herissez d' espies, o-h la semence 
 A se former a quatre rangs commence, 
 
 Et laisseroit seulement dans les champs 
 La noire yvraie, et les chardons tranchans. 
 
i 
 
 
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123 
 
 "La ronce aigae, et la mordante espine 
 Qui sur le bled miserable doraine:" 
 
 "saepe ego, cum flavis messorem induoeret arvis 
 agricola et fragili iam stringeret hordea culmo, 
 omnia ventorura concurrere proelia vidi, 
 quae gravidaai late segetam ab radicibus irais 
 sublimem expul sara eruerent; ita turbine nigro 
 ferret hiems culmumque levem stipulasque volantis. 
 
 The winds which precede a storm, Lau., IV, 171; V, 118; 
 Geor . . I, 356-357. 
 
 The fr-vo poles of the earth shaken by thunder, Lau., II, 
 
 1 30 ; • i I » 90 • 
 
 The land allowed to lie fallow every other year, Lau., V, 
 185; Geor . . I, 71-72. 
 
 The year turns back on itself, Lau., I, ICff; Geor . . II, 
 
 402. 
 
 The combat a cheval which is like the manoeuvres of the 
 Trojan boys, Lau., Ill, 507, V, 277; Aen . . V, 580-595. 
 
 "Tantost vous les voirrez a courbettes danser, 
 
 Tantost se reouler, s'approcher, s*avancer, 
 
 Sfescarter, s'esloigner, se serrer, se rejoindre 
 D'une point allong^e, et tantost d’une moindre, 
 Contrefaisant la guerre au semblant d'une paix^ 
 
 Croisez, entrelassez de froit et de biais, 
 
 Tantost en forme ronde, et tantost en carr^e, 
 
 Ainsi qu'un Labyrinth, dont la trace esgar^e 
 Nous abuse les pas en see divers ohemins. 
 
 Ainsi qu'on voit danser en la mer les Dauphins." 
 
 "olli discurrere pares atque agmina terni 
 diductis solvere choris rursusque vocati 
 converters vias infestaque tela tulere. 
 inde alios ineunt cursus aliosque recursus 
 adversi spatiis, alternosque orbibus or bis 
 impediunt, pugnaeque cient simulacra sub armis; 
 et nunc terga fuga nudant, nunc spicula vertunt 
 infensi, facta pariter nunc pace feruntur. 
 ut quondam Greta fertur Labyrinthus in alta 
 parietibus textum caecis iter ancipitemque 
 
 21 
 
 Lau., V, 294; Georg . . I, 316-321, Of. also Ec. . 
 
 V, 36-39. 
 
124 . 
 
 "mille viis habuisse dolum, qua signa sequendi 
 falleret indeprensus at inremaabilie error: 
 baud alio Teucrum nati vestigia cursu 
 impediunt texuntque fugas et proelia ludo, 
 delphinum similes, qui per maria umida nando 
 Carpathium Libycumque secant luduntque per undas 
 
 The beginning of a short epitaph paraphrases that 
 ally ascribed to Virgil, Lau., V, 311: 
 
 "Crete me fist, la France m'a nourry. 
 
 La Normandie ici me tient pourry." 
 
 "Mantua me genuit, Calebri rapueri, tenet nunc 
 Parthenope: cecini pascua, rura, duces." 
 
 ^^Lau., Ill, 507; Aen . . V, 580-595. 
 
 It 22 
 
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125 , 
 
 PART III 
 
 CONCLUSION 
 
 There yet remains to summarize Ronsard's relationship to 
 Virgil, In the first place it has been seen that Ronsard read 
 Virgil's works at a very early age, and according to his own words 
 learned them by heart. He studied Virgil very carefully in company 
 with "Seigneur Paul" or Claudio Duchi, with whom he became acquaint- 
 ed when he was a page, and retaining his admiration for the Latin 
 poet throughout his life, at its close still enjoyed translating 
 passages from him into French poetry. His desire to imitate Virgil 
 is to be seen in the doctrine of his school, the Defense et Illustra- 
 
 tion de la langue franco ise . in which Virgil's Eclogues are specifi- 
 cally urged as models, and in his own theoretical prose works, the 
 Abrege de 1 'art poetique and the 1572 and 1587 prefaces of the 
 Franciade . in which Virgil is declared to be the greatest Latin poet 
 and is cited as a model oftener than any other poet. The desire to 
 write an epic, too, connects Ronsard very closely with Virgil, for 
 the conception and plan of the epic he wished to write were very 
 similar to those of the Aeneid . Lines referring to this Virgilian 
 epic, the Franciade . can be found in poems of 1545 (approximate 
 date), 1549, 1550, 1552, 1553, 1554, 1555, 1556, 1558, 1562, 1563, 
 1567, 1572 and 1584. In addition much of the poet's time between 
 1566 and 1572 was spent in writing the first four books of the poem 
 and later much energy was expended on the alterations of the editions 
 of 1574, 1578, 1584, and 1587. In other words, Virgil was almost 
 
126 . 
 
 constantly before Ronsard's eyes as a model. The esteem of his as- 
 sociates and friends, Peletier, Du Bellay, Jodelle, and dee Masures 
 for Virgil contributed to his interest in Virgil. In his own poems 
 there are frequent references to Virgil, to favorite Virgilian pas- 
 sages, and to characters of Virgil, among which latter Aeneas, 
 Anchises, and Dido are most often mentioned. 
 
 As for Ronsard's actual imitation of Virgil, the Franc lade 
 (1572) is of greatest importance, but there is a large number of 
 other poems which owe their inspiration primarily or at least to a 
 great extent to Virgil, The earliest of these to be published is 
 the Hvmne de France (1549)^ imitated from Virgil's eulogy of Italy. 
 The Avantentree du Roi tresohrestien^ of the same year is both in 
 idea and movement similar to the fourth Eologgie and has reminiscences 
 of several other Eclogues . The Avant-venue du Printemos (l550)^ is 
 borrowed almost entirely from the descriptions of spring in the 
 Georgies . The Peintures d'un Pay sage (1550)^ include several Virgi- 
 lian scenes, - the Cyclops at work under Mt. AEtna, a sea storm, 
 
 Juno cajoling Jupiter, and all creatures inflamed with love. The 
 Ode de 1 ' Este (l550)® is another ode on the seasons which owes much 
 
 to the Georgies . The Ravlssement de Cep hale (l550)® in addition to 
 
 booK 
 
 describing another sea storm borrows directly from the fourth^of the 
 Aeneid for much of the characterization of Aurore. A long passage 
 from the Hvnne Triomphale (1551)'^ is imitated directly from the jour- 
 
 booK 
 
 ney of Mercury to earth also in the fourth^ of the Aeneid . The 
 
 jLau., Vt, 
 “Lau., VI, 
 3Lau., II, 
 |Lau., VI, 
 gLau., II, 
 ^Lau., II, 
 
 79. 
 
 74. 
 
 171. 
 
 104. 
 
 272 
 
 329. 
 
 *^Lau., II, 390. 
 

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127 . 
 
 apotheosis of Marguerite® in the same collection, Le Tombeau de 
 Maremeri te, is similar to that of Daphnis in the fifth E clogu_e_ . 
 
 The Discours a Qdet de Colligny (1560)® contains a series of com- 
 parisons all of which are in Virgil. The imitation of the first 
 Qeorgic found in the first Discours a la Royne (1562)^® in the Dis - 
 cours des Miseres de oe temps is especially important since it show£ 
 that Ronsard remembered Virgil when he was writing on a serious 
 topic in which he was passionately interested. Among the Epitaohes 
 that of Claude d'Aubespine (l57l)^^is especially Virgllian. Four 
 sonnets stand out, - the first. Audit S, de Beaumont (1552), imitate 3 
 the fourth Eclogue, the second, the spring descriptions of the 
 Eclogues and Georgies , the third, Dido’s invectives, and the last, 
 the end of the fourth Georgia^ ? Two very close imitations are the 
 caestus fight of the Hvnne de Pollux et de Castor (1556)^® and the 
 story of Orpheus in the poem by that name (1563)^^. The Cartel 
 pour le combat a cheval (1584)^® is inspired by the description of 
 
 booK 
 
 the manoeuvres of the Trojan boys in the fifth^of the Aeneid ^using 
 
 the same figures of the dolphins and the labyrinth. Many of the 
 
 Paroles que dist Cal vp son . ou qu * el 1 e devoit dire . voyant partir 
 
 Ulvsse de son Isle (1569)^® are like Dido’s denunciation of Aeneas. 
 
 In the Dialect jque (l555)^'7 of Pierre de la Ramee are translations 
 
 of a number of Virgil ian passages. Several poems in which plans for 
 
 the Fran ciade are given have passages imitated from the Aeneid . es- 
 
 18 
 
 pecially the Ode de la Paix (1550) and the Ode au Roy Henry II (1555) 
 
 SLau. , 
 ^Lau. , 
 lOLau. , 
 H^au., 
 
 II, 404. 
 
 V, 179. 
 
 V, 329. 
 
 V, 297. 
 
 II, 22; I, 
 IV, 277. 
 
 78, 143, 
 
 14Lau. , 
 l®Lau. , 
 
 124. 
 
 l^Lau. , 
 
 IV, 77. 
 Ill, 506. 
 
 V, 62. 
 
 VI, 396. 
 

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128 
 
 Of the Eclogues two are more dependent upon Virgil than the rest. 
 
 The first or Bergerie ^^ imitates lengthy passages of the fifth and 
 fourth Eclogues and the eulogy of Italy of the second Georglc . The 
 fourth^O follows a great part of the third Virgil ian Eclogue very 
 closely and has Important borrowings from other Eclogues . 
 
 These twenty-five poems, however, represent but a small 
 portion of the imitations and reminiscences of Virgil to be found in 
 Ronsard. To understand the scope of these borrowings it is best to 
 approach the subject from the other direction and to enumerate the 
 Virgilian lines which correspond to some passage of Ronsard. The 
 following tables show approximately how much of Virgil is in Ronsard 
 poems not including the Franc iade:^ ^ 
 
 Eclogue 1 1 3-5 — f(III); 7-8— D (8); 14-15— D(38); 25— D(49), 
 C(59), F (VIII); 34-35 — D (49); 38-39 — F (VII); 43-43 — F (VII)j 
 45-46 — D(9,23); 59-63 — F (VII); 60 — F (VII); 62-63 — F(VIII); 
 67 — F (IX); 75 — D(49), F(III); 76 — D(38,49). 
 
 Eclogue II : 3-5 — D(49), F(III), F (VII); 4-5 — C(l); 
 
 10-11 — A(64); 12-13 — A(68); 13 — D(34); 16-18 — D(36), C(87); 
 
 19-32 — D(47), D(49); 25-27 — D (47); 33 — D(35,44); 43 — C(l3); 
 
 45-49 — C(14), A(78); 56-58 — D(48); 63-65 — A(67) , D(49), D(27), 
 
 F(VIII); 66-67 — F(VII); 67-68 — D(26,39); 70 — A(26) D(49), F(VII 
 71-72 — A(69), D(48,49). 
 
 8 
 
 J;^Lau., Ill, 355, 
 
 |0Lau., Ill, 427. 
 
 2lThe tables indicate the lines in the Virgilian poem together with 
 the numbers of the notes in this article that furnish the corres- 
 ponding passages in Ronsard. The Roman nuoB ral I refers to Part I, 
 the letters A, B, C, etc., to sections of Part II, and the Roman 
 numerals in parentheses to subdivisions of section F. 
 

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 1 1 ;/ x* . ;■ \V- i i . , ;. 
 
 Q 
 
129. 
 
 Eclogue III : 5— D(49); 8 — F(VII); 17-18 — D(33); 20 — D 
 
 (33); 29-33 — D(42,49); 35-36 — D(49,42); 36ff. — C(82), A(78); 
 36-43 — D(49); 43 —D(42) j 43 - 44 — C(82) ; 50 — D(28); 55-59 — D(43), 
 A(28), C(l), D(28,34,49\ C(l6); 60 — D(35,44); 62-63 — D(35); 67- 
 D(35,36); 68-69 — C(l3) , D(36); 80 — D(49); 84-90 — D(37); 94-96— 
 D(38); 97 — D(49); 100-101 — D(38); 103 — D(38) , A(45), F(V); 
 104-109 — C(86), D(29,40,49), F(VII); 111 — F(III). 
 
 Eclogue IV : 4ff — F(VI); 6 — A(27), B(23), D(49), F(VI); 
 
 6ff — A(6 ), d( 49); 6-10 — C(lO); 8-10 — D(49), F(I); 13-14 — C(lO) i 
 18-20 — A(26), 0(34), D(45), F(VI)j 24-25 — D(l6), C(34); 26-27 — 
 0(10), F(IX); 30 — A(8), D(21,45,49), F(VII); 32-33 — D(l7); 34-36-- 
 0(10), D(17); 37-39 — 0(34,10), D(l8); 38-41 — 0(34), D(l9), C(54) , 
 F(VI); 42-45 — D(2l); 50-52 — A(28); 53-57 — 0(29) , F(III); 53- 
 54 — F(IX); passim — F(VI, VII). 
 
 Eclogue V : 5-7 — D(6,32); 12 — D(49); 13 — B(15), D(49); 
 13-14 — F(VII); 19 — D(6,49); 20-21 — A(38,86), D(10); 23 — C(48) 
 
 F(VII); 25-26 — D(lO); 26-27 — C(52); 27-28 — D(lO); 32 — A(26) , 
 D(49), F(YII); 32-34 — B(l2), D(ll,49); 34-39 — D(45,49,ll); 40-42 
 B(14), D(ll); 42-44 - B(13); 46-47 — D(49), F(VII); 52 — F(VII); 
 56-57 — A (38), D(12), B(11); 58-59 — B(l6) , F(l); 60 — F(VI); 
 62-65 — D(5,12), F(VII); 66 — B(14) ; 67— A(85), D(13,49), B(16) ; 
 67-68 — F(VII); 72 — D(l3); 74 — a( 28); 76-78 — D(l4,49), F(VII) 
 
 
 79-80 — A(28,38,85), D(15,49), F(VI1); 81 — D(46); 82-85 — 
 
 D(29,46); 88-89 — D(46,49). 
 
 Eclogue VI I 1 — D(49), F(III); 3-10 — A(57); 6 — F(III); 
 11-12 — F(I); 14-16 — F(VII); 19 — F(VII); 27-28 — 0(36); 31-40 - 
 A(28); 41 — F(I, VI); 43-44 — 0(3l); 82-83 — D(49), F(l) . 
 
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130. 
 
 Eclogue VII: 1-5 — D(30); 5 — D(41); 6-7 — D(3l); 8— D 
 
 (32); 33 — D(49), F(VII); 53-57 — D(45), F(VII); 57-60 — D(45,49), 
 F(VII); 61-64 — F(I); 65 - C(l6) . 
 
 Eclogue VIII : 27-28 — F(VII); 37-38 — D(25); 41 — D(25) 
 
 49-50 — F(II); 52.fJ— F(VII) ; 52-56 — F(VII); 59-60 — F(ll); 64-65 
 B(28); 69 — A(45), D(l6); 73-75 ~ F(II); 80-81 — F(II), F(VIII); 
 82 — B(28); 97-98 — A(43), D(16); 102 — F(II); 105-106 — F(V) . 
 
 Eclogue X; 7 — A(74); 8 — D(34); 13-15 — F(VII); 29-30 
 F(II,VII); 35-36 — F(VII); 40 - C(ll), D(49); 43 — C(l2); 53-54 — 
 
 
 D(39,49), F(VII); 69 — D(49); 71 — A(69). 
 
 Georgies 1 : 2 — F(VII); 9 - - F(VII); 18 — F(l); 24-25— 
 F(VII); 24-42 — a( 38); 24-25 — F(VII); 31 — F(l); 32-35 — B(3), 
 A(62,71), F(VII); 42 — A(28); 43-44 — A(30), B(19), F(IV); 44-46 — 
 F(IV); 56-57 — A(26), B(24); 60-63 — B(l7) , F(l); 71-72 — F(IX); 
 125-146 — A(37), F(VI); 126-128 — D(l6); 131 — a( 8); 132 — D(20); 
 139 — D(49); 145-146 — A(32), F(VIII); 146 ff. — F(VI); 217-218 — 
 A(30), 0(3); 259-261 — F(IV); 297 — A(63); 311-315 — F(IV); 316- 
 321 — 0(49), F(IX); 356-359 — F(IV, IX); 365-367 — F(VIII); 374ff. 
 — F(V); 388 — F(V); 436-437 — F(l); 447 — F(IX); 464-465 — 0(41) 
 
 F(V); 466-468 — D(7,10), F(V) ; 469-471 — 0(32), F(V); 473 — F(V); 
 474-475 — 0(32); 477-478 — 0(32), D(l6); 481-483 — A (81), C(41), 
 F(V, VIII); 486 — A(44), F(V) ; 487-490 — 0(32,41, 43), D(7), F(V); 
 489-497 — B(18); 490-492 — F(V); 493-487 — B(24), F(IX); 498-501 -■ 
 0(47); 505 — 0(44); 506-508 — 0(44), D(7,17), F(V); 510-514 — 0 
 (45); passim — F(V) . 
 
 Georgies II : 1-3 ~ 0(88);499 — A(85); 116-117 — A(26), 
 
 B(24); 136-139 — A(7,40), D(22); 136 ff. — F(IX); 140-144 — a(9). 
 

 
 
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131 . 
 
 F(I); 144-145 — A(10), F(IX); 149-150 — A(11), D(49); 151-154 — 
 
 A (8), D(22); 155-156 — A(l8); 157-158 — A(23,80), D(22); 158-161 — 
 A(15,18); 158-164 — D(22); 165-166 — A(12); 167-172 — A(24), 
 
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 311 — D(49), F(VIII); 319-322 — F(IV); 323ff. - F(IV); 325-331 — 
 A(32,55), C(1), F(II,IX); 332-334 — A(30); 335 - A(31); 336-342 — 
 a( 36), F(VI); 338 — D(16); 353 — A(62), C(2), F(IV); 402 — C(3), 
 F(IX); 458 - 473 — A(20), C(l8,39), F(VII); 473-474 — A(27,40,71), 
 B(l8), 0(44), F(VI); 475-476 — C(40), F(III); 485 -489-- 
 0(40); 490-502 — A(16, 83), F(III,VII); 490-512 — 0(39); 503-512 -■ 
 A(60); 513-518 — A(59), 0(18) ; 519-523 — F(IV); 537-540 — A(37), 
 D(16), F(VI). 
 
 Georgies III : 1 — D(35); 2 — F(I); 3-9 — B(20); 8-9 — 
 
 A(5), B(3), F(III); 10-12 — A(17,58), D(49), F(III); 14-15 — A(39, 
 81); 27 — B(24); 30-31 — B(24); 42-45 — F(I); 149-151 — F(VII); 
 196-199 -- 0(37,49), F(VIII); 200 — 0(37); 212-217 — A(72), F(II); 
 217-219 — F(VII); 220— D(49); 222-223 — F(II); 242-244 — A(34, 
 54), F(II); 253-254 — F(7); 259-263 — A(54); 269-274 — F(ll); 
 
 275 — F(II); 276-277 — F(II); 281-282 — A(42,85); 288 — F(VIII); 
 291-293 — F(III); 324-326 — A(65), F(IV); 327-328 — A(68); 329- 
 330 — A(74,66); 331 — D(49); 335-338 — A(74); 344-345 — B(24); 
 
 366 — F(IX); 272 — F(IV); 391-393 — 0(6). 
 
 Georgies IV i 6-7 — 1(76); 67-87 — 0(46); 80 — F(VIII); 
 
 87 — F(VII); 125-146 — l(66); 170-175 — A(47), F(VIII); 333-344 - 
 A(87), 0 ■'(30); 345 — A(89); 352 — A(30); 371 — A(81); 425-428 - 
 
 A(62), 0(2), F(IV); 429-430 — F(l); 430-431 — A(56,70); 437-442 — 
 F(I); 457-461 — 0(25), F(I); 463-465 — A(75); 464-470 — 0(25,50); 
 
132. 
 
 471-474 — C(27); 481 — C(27); 485-509 -- C(28); 499-500 — F(VIII); 
 506-510 — A(75), F(I); 511-515 — 0(49,53), F(ll); 522-527 — F(IX)j 
 559-566 — C(4), D(2,4). 
 
 Aeneid I : 1 — 0(22); 5 —1(47,55); 23-24 — F(l); 29-31 — 
 F(I); 34-35 — F(IX); 41 — F(l); 52-54 — F(I); 65-66 — F(I); 84-86 
 A(88), 0(55,83); 87 — A(51,88), 0(55); 89 — 0(55); 90 — A(49,88), 
 0(55), F(IX); 91-92 — a(S 8); 94-98 — F(IX); 104-105 — A(88,5l), 
 0(55); 107 - - 0(37); 118-119 — A(88); 123 — 0(55); 124 — A(S8); 
 125-126 — F( I); 126-127 — F(I); 123 — F( I); 142-147 — A(S8), 
 F(I); 148-153 — F(TIII); 154-156 — A(88); 174-176 — 0(64); 216 — 
 0(24); 286-288 — A(14), F(IX); 291-296 — B(23) , 0(8) ; 297 — F(I); 
 300 — A(76); 327-330 — F(IX); 415 — F(I); 455 ff.7'F(l); 480-481 - 
 0(48); 498-500 — F(VIII); 622 — F(I); 648 — F(l); 680 — F(l); 
 723-724 — 0(24); 740-741 — 0(24) . 
 
 Aeneid II : 7 — F(l); 171 — F(l); 226 — F(l); 246-247 — 
 
 F(I); 270 ff. — F(I); 305-307 — F(VIII); 341 — F(l); 355-357 (VIII 
 367-368 — F(VIII); 386 — F(I); 407 — F(I); 416-419 — 0(37); 471- 
 474 — A(77), F(VII); 535-538 — 0(7), A(46); 682-684 — F(V); 692- 
 693 — A(13), F(V); 775 ff. — F(l); 792-794 — F(IX) . 
 
 Aeneid III : 16ff. — 1(47); 56-57 — F(VIII); 111-113 — 
 F(I); 140 ff. — 1(47); 147 — 0(23), F(IV); 225-228 — F(I); 286- 
 
 
 287 — F(I); 293 ff. — F(I); 331 — F(I); 444-446 — F(l); 579 — 
 
 A(82); 590 — 0(56); 593-594 — 0(56); 599-601 — 0(61); 605-608 — 
 0(61); 617-619 — 0(60); 622-625 — 0(58); 630 — 0(57); 657-658 — 
 0(58); 659 — 0(62); 694-696 — A(81), F(I) . 
 
 Aeneid IV i 2 — A(91); 3-5 — A(92); 13 — F(VIII); 55 — 
 A(94); 64-65 — A(96); 66-67 — A(91); 68-69 — A(95); 72 — A(95); 
 
\L k 
 
133 
 
 77 — F(IV); 80-83 — a(93), F(II), F(IV); 93-95 — F(10); 161 — 
 
 . C(42) 
 
 A(88); 166-167 - F(IX); 173-190 — F(I)^^; 178-181 — A(41); 
 
 188 — F(I); 222-223 — B(2); 265-276 — F(IX) ; 238 — F(I)*, 238- 
 
 257 — B(5); 242-244 — F(I); 243-257 — A(76), B(19) , F(l);,F(IX); 
 
 181-183 — F(2.); /86 — F(I); 296 — F(II); 305 — F(ll); 309-310 -• 
 C(l); 327-330 — F(l3); 365-367 — C(5, 16), F(II,13); 373-374 — 
 
 1(75), F(9)j 376-378 — F(11); 379 — C(5); 384-366 — F(8); 388 — 
 
 F(12); 391-392 — F(l2); 402-407 — F(IX); 412-413 — A(97); 433 — 
 F(13); 441-444 — C(37); 469-473 — F(l) , A(79 )j 483 — 0(l5); 
 
 507- 500 ~ B(28); 512 — B(28) ; 513 — a(42)j 515-516 — a( 8); 516 -• 
 B(28); 522 - A(26), F(IY); 522-524 — C(23); 569-570 — F(ll)i 585 -■ 
 F(IX); 590 — F(II); 602 - - F(8); 666 - C(42); 666 — F(l); 684- 
 685 — a(90), C(51), F(I). 
 
 Aeneid V : 2, 8-9 — F(IX); 15 — A(50); 46-47 — F(VII); 
 
 72 — F(I); 88-89 — D(49), F(VIII); 350 ff. — F(I); 377 — C(68); 
 421-423 — C(67); 424-425 — C(69); 428-429 — C(70)j 433-436 — 
 C(74)j 437 — C(72); 439-442 — C(7l); 443-446 — C(78); 447-449 — 
 0(79), F(VIII); 450-451 — C(77); 454-457 — C(76); 458-459 — C(74) 
 F(VIII); 527-528 — F(VIII); 545 ff. — 1(47,77); 580-595 — F(IX)*, 
 693-694 — A(88); 696 — A(48,88); 694-5— A(49); 807-808 — F(I); 
 
 824 — F(I); 835-836 — F(IV); 854-855 — F(IV). 
 
 Aenei d VI: 1 — a( 35); 2 — F(l); 14-17 — F(I); 20 ff. — 
 
 F(I); 30-31 — F(I); 45-51 — A(20), F(IX); 77-80 — A(29) , F(IX); 
 126-127 — F(VIII); 243 ff. — F(l); 255-259 — A(29), F(IX); 268 ff, 
 F(I); 305 — 0(33), F(I); 313-314 — C(35) , F(l); 315-316 — B(27); 
 324 — B(19); 392 — C(26); 395-396 — C(26); 400-401 — 0(26); 439— 
 B(14), F(I); 440 ff. — F(l); 448-449 — F(l); 472-473 — A(98); 
 
134 . 
 
 494-497 — F(I); 566 — F(l); 571 ff. — F(I); 585-586 — F(I); 
 596-597 — F(I); 638-641 — A(85); 642-647 — C(35,54), F(I); 651- 
 655 — A (85), 0(35); 667-668 — C(35); 669 — F(VIII); 700-701 ~ 
 F(IX); 702 — F(VIII); 703ff. — F(I); 781-782 — A(82 
 
 0(85); 784-787 — F(I); 792-794 — F(VI); 792-805 — 0(8); 798 — 
 B(24), 801-805 — F(IX); 851-853 — B(23), 0(8,9,84). 
 
 Aeneid VII : 224 ~ F(IX); 329 — F(I); 346 -351 — F(l); 
 483-492 — D(49); 512-515 — F(l); F(V); 519-521 — F(l); 528-530 — 
 F(VIII); 586-590 — 0(73) , 0(3S) , F(VIII); 699-700 — F(VIII); 
 
 764-773 — F(I); 803 — F(I). 
 
 Aene id VIII: 22-25 — F(VIII); 26-27 — A(26), F(IV); 
 
 30-66 — B(29); 31-35 — B(21), F(I); 66-67 — B(21); 159 — B(24); 
 201-203 — F(I); 209-211 — F(lX); 240 - A(44); 288-300 — 0(l9), 
 F(I); 324 — F(VI); 387 ff. — A(53); 391 — B(6), 0(55); 392 — 
 a(52); 424 — A(47); 426-428 — a(47); 429-432, 445-446 — A(47); 
 
 626 ff. - F(I); 655-656 - F(I); 660 — A(78); 680 — B(10); 700-703 
 F(I); 705-706 - - B(24). 
 
 Aeneid IX : 79 — F(IX); 339-341 — F(VIII); 417 — A(33); 
 435-437 — B(25), 0(20), F(5), F(VIII); 446-449 — F(IX) ; 460 ~ 
 F(IX); 477-480 — 0(48); 563-564 — A(99); 641 — F(VIII), 757-759— 
 F(IX); 792-793 — 0(66) . 
 
 Aeneid X: 134-135 — F(VIII); 91 — F(IX); 248 — F(VIII) 
 
 324 — F(IX); 356-359 — F(IV,VIII); 405-409 — F(VIII); 641 — 
 F(VIII); 693-696 — 0(72), F(VIII); 706-712 — 0(66); 723-726 — 
 0(63,65); 791 - 793 — F(IX); 
 
 Aeneid XI : 5-7 — F(l); 162-163 — 0(51); 432 — F(l); 
 
 492-497 — F(VIII); 611 — F(VIII); 624-628 — F(VIII); 718 — F(VIlll) 
 
135. 
 
 751 — A(77) . 
 
 Aeneld XII 1 365-367 — B(l9); 412 — F(l); 414-415 ~ 
 
 F(IX); 523-525 — F(VIII); 684 - B(8); 715-722 — C(75); 766-769 — 
 C(81); 792 — B(9); 879-881 — F(II) . 
 
 Ciris: 120-125, 387-388 — F(I); 479-480 — F(VIII) . 
 
 The following are the more important passages of the Aenei d 
 imitated in the Franoiade : I, 8-11, 25-28, 34-36, 37-50, 64-75, 81- 
 93, 93-101, 102-123, 297-304, 411-414, 522-557, 562-578, 633-636, 
 657-660, 697-708, 740-746; II, practically all of the incidents of 
 the fall of Troy; III, 62-68, 293, 294^297, 300-305, 369-462, 482- 
 491; IV, 9-29, 56-65, 80-83, 173-188, 223-255, 265-276, 522-528, 
 529-532; V, 8-9, 250-257, 430-431, 435-436, 447-449, 453- 
 
 455, 687-692, 715-718, 729-730, 857-860; VI, 46-51, 77-80, 133-148, 
 149-155, 162-182, 237-242, 257-263, 365-366, 724-751, 756-886; VII, 
 141, 341-355, 385-405, 586-600; VIII, 31-35, 157-159; IX, 646-652; 
 
 X, 1-95, 829-830; XI, 5-11, 794-795; XII, 715-722, 725-727, 764-765. 
 
 The following passages are either mentioned or quoted in 
 the prose works of Ronsard: Georgies I . 1-2, 43-44, 329-330, 331- 
 
 333; Georgies II . 143; Aeneid I . 2-3, 8, 393; II, 682-683; III, 211; 
 IV, 206-218, 6-7, 198, 522-525; V, 46-48, 249-257, 257, 261; VI, 166, 
 VII, 81-82, 275-283, 762-764-; 623-817; VIII, 181, 219-267, 387-453, 
 409, 460; IX, 481-497, 545-547, 595-620, 646-648; X, 15-95, 396,600, 
 782, 783, 846-856; XI, 768-777; XII, 360. 
 
 It is, therefore, clear that there are not many Viriglian 
 passages which do not have a counterpart or mention in Ronsard. The 
 passages not used are principally of such a character that they 
 would not especially interest a poet with predominant lyrical ten- 
 

136 . 
 
 dencies. Many of the passages used appear several times, and if 
 the frequency of their appearance furnishes an indication of their 
 popularity, the fourth and fifth Eclogue^, the eulogy of Italy in 
 the second Georgic . and the flight of Mercury to earth and the 
 Dido episode of the fourth book of the Aeneid would seem to be among 
 Ronsard's favorite Virgilian passages. His desire for variations 
 naturally causes some imitations of the same passage to be much 
 closer than others, but the period of his life at which ttie poems 
 were written does not seem to have been very influential. For 
 proof, we find very close imitations both at the beginning and the 
 close of his career, as in the Hvmne de France of 1549, the Hymne 
 de Pollux of 1556, the Orrhee of 1563, the Paroles of Calypson of 
 1569, the Franciade of 1572, and the Cartel pour le combat a cheval 
 of 1584. 
 
 Often there is a direct imitation of a passage of ten or 
 twelve lines in a poem of several hundred lines, as in the Ode a 
 Monsieur le Dauphin of 1555, while the rest of the poem has but 
 slight connection with Virgil. At times passages from widely 
 separated parts of Virgil are combined in the same poem. This pro- 
 cess of intermingling sources is one of Ronsard's favorite schemes 
 and gives him a touch of originality in treatment if not in subject 
 matter itself. The process is net, however, new with him, for he 
 found it in Virgil and in other ancient poets who had ideas concern- 
 ing imitation like the Pleiade's. 
 
 Ronsard likes also to absorb the characters of his poet 
 predecessors, and of those from Virgil, Dido and Aeneas especially 
 pleased his fancy. Dido is used in the characterization of Aurore, 
 

 
 
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137 . 
 
 Calypson, Clyniene, Hyante, and others; Aeneas and Francus are 
 practically synonymous except that Francus is more cruel and heart- 
 less. But as Ronsard is not very skilful in character portrayal, 
 his unpleasing characterization of Francus is to be expected. Most 
 of the minor characters of the Franciade are flat imitations of 
 those of the Aeneid . since Ronsard lacked the genius tc create new 
 characters. 
 
 In the imitation of incidents such as the tragic exp^erience ; 
 of Orpheus and Eurydice in the Orph^e and the caestus fiJ^t in the 
 Hvmn e de Pollux , he is more successful in arousing interest even 
 though there is nothing new in his pictorialization . In more lyri- 
 cal borrowings such as in the Hvmne de France and in various odes 
 on the seasons he sounds still more natural. It is, therefore, not 
 the borrowing itself, but the kind of borrowing which spoils or 
 strengthens Ronsard' s poems. When he is able to imitate and be 
 
 Smootn/y 
 
 lyrical his poetry runs much more^and with more genuine feeling than 
 when he must imitate and write epic poetry. 
 
 But even in his lyric poetry Ronsard loves pompous figures, 
 especially similes, and takes many of them from Virgil. He and his 
 school considered it an essential quality of a good poet to be able 
 to put a famous simile of Virgil or Homer into euphemistic French 
 verse. Critics like Pasquier and Estienne were eager to contrast 
 the old and new comparisons and were much too prone to favor the 
 French version. All the other figiores known to Virgil, Homer, and 
 their fellow countrymen were also imitated, and some which are 
 associated especially with Virgil are used by Ronsard. Of these 
 latter, paraphrases such as Aurora's departure from the couch of 
 

 
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 Tithonus for morn and proverbial expressions such as "Easy is the 
 descent to hell” serve as examples. 
 
 Some of Ronsard’s borrov/ing from Virgil was in all prob- 
 ability unconscious. Ha had the Latin poet so thoroughly in mind 
 that the imitation must have been almost instinctive. He certainly 
 did not have to keep a copy of Virgil open before him 7/hile he was 
 OTiting, for Virgil was more or less a part of him. He had, in 
 short, absorbed so many of the characters, incidents, ideas, ex- 
 pressions, and other stylistic peculiarities of Tirgil that there 
 is little wonder at his naming his favorite Latin poet ”la premiere 
 oapitaine des Muses." 
 
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139 . 
 
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144 . 
 
 VITA 
 
 I was born in Centralia, Illinois, September 11, 1898, a 
 son of Henry E. and Bortha I^athilda (Grosch) Storer. I received 
 my preparatory education in the Central ia grade schools and in the 
 Central ia Township High School, graduating in 1915. In September, 
 1915, I entered the University of Illinois, from which I received 
 the degrees of Bachelor of Arts in 1919 and Master of Arts in 1920 
 (Thesis: The Sour ce s of Victor Hugo * a Drama ) . I have continued 
 
 my graduate study in this university as a Fellow in Romance Languages 
 during the years 1920-1921 and 1921-1922, to the present time.