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  • Parnassus to Pantheon
  • Robert Finch (bio)
Robert Finch

Professor of French, University College, University of Toronto; author of Poems (1946), Acis in Oxford and Other Poems (1961), and Dover Beach Revisited and Other Poems (1961)

notes

1. Evrard Titon du Tillet, Le Parnasse François (1732), tide-page and Dédicace; d’Haussonville, La Duchesse de Bourgogne (1908), I, 265–6. (N.B. In the names of du Tillet’s three outstanding productions, the bronze monument of his design, Le Parnasse François, 1718, and two books, Description du Parnasse François, 1727, and Le Parnasse François, 1732, the old spelling of François has been retained in the notes but modernized in the text of the article.)

2. Fréron, Année Littéraire (1763), I, 265–6.

3. I.e., the monument. Le Parnasse François, 822, footnote.

4. d’Haussonville, II, 75–123.

5. Ibid., I, 430–46.

6. Ibid., I, 462.

7. Ibid., I, 347–86.

8. Ibid., II, 147–3.

9. Description du Parnasse François (1727), xxiii.

10. Le Parnasse François, lxxxviii, 93–8.

11. Lue-Benoist, La Sculpture Française (1945), 150.

12. Ibid., 151–9.

13. “Il était d’usage chez les anciens peuples d’élever de superbes mausolées, de dresser des statues, ou de consacrer quelque monument à la mémoire de ceux qui avaient porté leur art au plus haut point de perfection: présentement l’homme de génie et l’ignorant sont à peu près rangés dans la même classe, quand la mort leur fait payer le tribut imposé à l’humanité.” Laugier, Sentiment d’un Harmoniphile (1756), 13.

14. Titon du Tillet, Remarques en général sur l’excellence de la Poésie et de la Musique, reproduced towards the end of Le Parnasse François, with separate pagination, l-liii.

15. See d’Haussonville, IV, 451–7.

16. Description du Parnasse François, xxii.

17. Année Littéraire (1763), I, 266–7.

18. Le Parnasse François, 41.

19. Ibid., 42–45.

20. Ibid., 80–86.

21. Remarques, etc., xxx–xlix.

22. Cited by Lacour-Gayet, L’Education politique de Louis XIV (2nd ed., 1923), 83. A long overdue tribute to the immense influence of Louis XIV’s powers of observation in the field of architecture is paid in Fiske Kimball, The Creation of the Rococo (Philadelphia, 1943), esp. 16, 34.

23. Rivarol, De l’Universalité de la langue française (1783), II, 41.

24. Le Parnasse François, 30, 821–2.

25. Oddly enough, Malherbe was the only French poet (there was no musician) who already had a monument, half private, half public, unknown except to those who visited the town of Caen. There, about 1679, the poet Segrais, his fellow-countryman, disciple, and idolizcr, had had, at his wealthy bride’s expense, a six-foot statue of Malherbe carved and placed in a niche specially made in the façade of his house, with, underneath: Until World War II the statue still stood, though the house was pointed out to tourists not as that of Segrais but of Malherbe. Segrais, who died in 1701 and whom Boileau had also admitted into his Art Poétique with the single hue “Que Segrais dans l’églogue enchante les forêts,” would no doubt have been scandalized to find himself replacing a Muse on a Parnassus where Malherbe was but a medallion—and by Boileau’s decision.

Malherbe de la France éternel ornement Pour rendre hommage à ta mémoire Segrais, enchanté de ta gloire Te consacre ce monument.

26. Le Parnasse François, 824.

27. Ibid., 829.

28. Ibid., 827.

29. Description du Parnasse François, 40–55.

30. Le Parnasse François, 68–99.

31. Ibid., 71.

32. Année Littéraire (1763), I, 268–9.

33. Ibid., 274–5.

34. Le Parnasse François, 824, footnote.

35. Titon du Tillet, Essais sur les Honneurs et sur les monuments accordés aus savants pendant la suite des siècles, Introduction (1727, 1734).

36. Année Littéraire (1763), I, 271–3.

37. Le Parnasse François, 824–6.

38. Année Littéraire (1763), I, 275.

39. Année Littéraire...

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Additional Information

ISSN
1712-5278
Print ISSN
0042-0247
Pages
pp. 125-141
Launched on MUSE
2015-07-01
Open Access
No
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