François Villon's contemporary image comes from the late nineteenth century, when the medieval poet was elected by literary historiography as the creator of modern lyricism in France. But there are ...many evidences showing that Villon's testaments would belong to a genre of the medieval burlesque theatre called "dramatic monologue". These evidences can be divided into three different groups: the material evidences, such as the history of the transmission of his manuscripts and editions along with other burlesque dramas; the textual evidences, such as the dramatic resources used in the monologue; and the historical evidences, such as his imitation by various burlesque compositions of the time, and the testimonies and anecdotes referring to Villon as a farceur. But how could a testament be played by an actor, if it is a written genre by definition? We argue that, as soon as the actor puts on the mask of the deceased testator character, he simply transmits the words actually spoken in the first person by the repentant villain's phantom that lies beyond. From this point of view, the repentant villain's farce (which is played in this dramatic monologue) is, on the one hand, a parody of the poetic forms of the lovers' testament from the time, and on the other hand, a parody of the Bible's narrative structure. Keywords: Medieval comic theatre, François Villon, parody. L'image contemporaine de François Villon remonte à la fin du XIXe siècle, quand le poète médiéval a été consideré par l'historiographie littéraire le createur du lyrisme moderne en France. Néanmoins, il y a plusieurs évidences qui montrent que les testaments de Villon appartiennent au genre burlesque médiéval du << monologue dramatique >>. Ces évidences sont divisées en trois groupes différents: les évidences matérielles, comme l'histoire de la transmission de ses manuscrits et éditions avec d'autres pièces burlesques; les évidences textuelles, comme les ressources dramatiques utilisées par le monologue; et les évidences historiques, comme l'imitation des testaments par plusieurs compositions burlesques de l'époque, ainsi que les témoignages et anecdotes qui appellent Villon un << farseur >>. Mais comment un testament pourrait être joué par un acteur, si il est un genre écrit par définition? Nous soutenons que, en portant le masque du personnage du testateur défunt, l'acteur transmet les paroles énoncées d'au-delà par le spectre du vilain repenti. De ce point de vue, la farce du vilain repenti (qui est jouée dans ce monologue dramatique) est la parodie des formes poétiques du testament amoureux de l'époque, d'un coté, et de la structure narrative de la Bible, de l'autre coté. Mots-clés: Théâtre burlesque medieval, François Villon, parodie. A imagem contemporânea de François Villon remonta ao final do século XIX, quando o poeta medieval foi considerado pela historiografia literária o criador do lirismo moderno na França. No entanto, há diversas evidências de que os testamentos de Villon pertencessem ao gênero do teatro burlesco medieval chamado de "monólogo dramático". Essas evidências são de três tipos: as evidências materiais, como a história da transmissão de seus manuscritos e edições juntamente com outros dramas burlescos; as evidências textuais, como os recursos dramáticos utilizados pelo monólogo; e as evidências históricas, como a sua imitação por diversas composições burlescas da época, bem como a unanimidade dos testemunhos e anedotas se referindo a Villon como um farseur. Mas como um testamento poderia ser encenado por um ator, se é um gênero escrito por definição? Defendese que, ao vestir a máscara da personagem do testador morto, o ator transmite as palavras enunciadas do além pelo espectro do vilão arrependido. Dessa perspectiva, a farsa do vilão arrependido (encenada nesse monólogo dramático) parodia as formas poéticas do testamento amoroso da época por um lado, e a estrutura narrativa das Sagradas Escrituras por outro. Palavras-chave: teatro burlesco medieval, François Villon, paródia.
Francois Villon was the last of the great medieval poets, as important in his own, more limited, sphere as Chaucer or Dante. His fame surpasses that of any other medieval French lyricist in spite of ...the modest quantity, uneven quality, and often repellent subject-matter of his work. His poems are largely autobiographical, and are rich in their descriptions of thefts, fights, nocturnal prowling, imprisonment, and exile. However, as Barbara Sargent-Baur points outs, when Villon’s work is good, it is very good, indeed unforgettable. His two major works are the Lais, a series of bequests in anticipation of his prudent departure from Paris, and Testament, which is about his primary topic, himself.
There have been many translations of Villon’s work into many languages, including English, but this is the first edition of the whole of the corpus utilizing a re-reading of all the manuscript sources and presenting for each poem a single-source text with all emendations accounted for. It is also the first annotated English version based on the best-text principle and respecting both Villon’s meaning and his metrics. A modern edition of the French texts is presented beside the English on facing pages. In an extensive commentary, Sargent-Baur identifies the poet’s literary and historical allusions, as well as place-names, legatees, and biographical data.
Este artigo trata da imitação da forma testamentária pela poesia medieval, em particular pela lírica amorosa na França. Surgida em vernáculo no fim do século XIII como um desenvolvimento dos sermões ...em verso chamados de Vers de la Mort, a forma do testamento poético foi adaptada, em meados do século XV, à lírica cortês pelos poemas pertencentes à querela literária da Belle Dame sans Mercy, de Alain Chartier. Durante todo aquele período, esses dois modelos foram parodiados por diferentes gêneros cômicos como, por exemplo, bestiários burlescos, farsas e sátiras. Os dois poemas longos em forma de testamento atribuídos ao poeta francês medieval François Villon são uma paródia da inteira estrutura e das personagens do testamento amoroso da época. Pretende-se mostrar que o Lais e o Testament de Villon assumem uma posição clara naquela querela do lado dos detratores da bela dama sem misericórdia com vistas a criticar as inconstâncias do amor. Palavras-chave: lírica cortês, paródia medieval, testamento amoroso, François Villon, A querela da Belle Dame sans Mercy. This paper discusses the imitation of the testament form by medieval poetry, in particular by the lyric poetry in France. Born in vernacular at the end of the thirteenth century as a development of verse sermons called Vers de la Mort, the form of the poetic testament was adapted, in the mid-fifteenth century, to the lyric poetry by the works belonging to the literary quarrel of the Belle dame sans merci, by Alain Chartier. Throughout this period, these two models were parodied by different comic genres, such as burlesque bestiaries, farces and satire. The two long wills attributed to the medieval French poet François Villon are a parody of the entire structure and characters of Testament of Love of the time. It is intended to show that the Lais and the Testament by Villon take a clear position on the side of the detractors of the beautiful lady without mercy in that quarrel, in order to criticize the fickleness of love. Keywords: Medieval lyric, Parody, Testament of Love, François Villon, The quarrel of the Belle dame sans mercy. Cet article examine l'imitation de la forme testamentaire par la poésie médiévale, en particulier par la lyrique amoureuse en France. Née à la fin du XIII.sup.e siècle en langue vernaculaire pour développer les sermons en vers appelés Vers de la Mort, la forme du testament poétique a été adaptée, au milieu du XV.sup.e siècle, à la lyrique amoureuse par les poèmes liés à la querelle littéraire sur la Belle Dame sans Mercy, d'Alain Chartier. Tout au long de cette période, ces deux modèles ont été parodiés par différents genres comiques tels que les bestiaires burlesques, les farces et les satires. Les deux poèmes longs en forme de testament attribués au poète médiéval français François Villon sont une parodie de la structure entière et des personnages du testament amoureux de l'époque. Ce travail vise à montrer que le Lais et le Testament de Villon sont clairement, dans cette querelle, du côté des détracteurs de la belle dame pour critiquer les inconstances de l'amour. Mots-Clés: Lyrique courtoise, Parodie médiévale, Testament amoureux, François Villon, La querelle de la Belle Dame sans Mercy.
L’oeuvre de Nouno Judlin est peu connue, malgré une activité incessante dans le Félibrige, les milieux camarguais et le théâtre. Elle a publié plusieurs recueils de poèmes, deux romans en français, ...mais son œuvre apparaît aujourd’hui peu accessible. De la même génération que son amie Farfantello, elle fait partie avec Marcello Drutel, Calelhon et bien d’autres, d’une génération de « félibresses » qui entendent rompre avec l’image qui était jusqu’à présent celle réservée aux femmes dans le Félibrige, s’affirmant ainsi comme de véritables créatrices. Son oeuvre majeure, Coume finiguè Mèstre Francés Villon, publiée en 1931, passa quelque peu inaperçue. Elle y érige, alternant prose et vers, la figure rédemptrice de deux poètes français, Villon et Verlaine, tout en jouant sur la sensibilité littéraire et l’appropriation linguistique qui fut la sienne. Écrivant sur les marges géographiques et littéraires de la Provence, elle apparaît aujourd’hui comme une voix des plus importantes qu’il nous faut reconnaître.
En este artículo analizo tres poemas de Nicanor Parra cuya estructura está basada en la acumulación de elementos aparentemente no poéticos: "Versos sueltos", "Ideas sueltas" y "Frases". A partir de ...estos procedimientos, establezco relaciones con el poeta renacentista Francois Villon y con algunas tendencias contemporáneas como los poemas encontrados y la poesía conceptual. Palabras clave: Nicanor Parra, poesía encontrada, poesía conceptual. abstract In this article I analyze three poems by Nicanor Parra, whose structure is based on the accumulation of apparently not poetic elements: "Versos sueltos", "Ideas sueltas" and "Frases". From these procedures, I establish relationships with the Renaissance poet Francois Villon, and some contemporary tendenciess such as found poems and conceptual poetry. Keywords: Nicanor Parra, found poetry, conceptual poetry.
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