{"id":23,"date":"2015-02-28T15:02:00","date_gmt":"2015-02-28T14:02:00","guid":{"rendered":""},"modified":"2026-07-12T09:00:37","modified_gmt":"2026-07-12T07:00:37","slug":"histoire-de-la-poesie-1-la-poesie-du","status":"publish","type":"post","link":"https:\/\/maprofdelettres.fr\/index.php\/2015\/02\/28\/histoire-de-la-poesie-1-la-poesie-du\/","title":{"rendered":"Histoire de la po\u00e9sie : 1. La po\u00e9sie du Moyen \u00c2ge et du XVIe si\u00e8cle"},"content":{"rendered":"
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\nHISTOIRE DE LA PO\u00c9SIE<\/b><\/span><\/span><\/div>\n
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\n     La po\u00e9sie ob\u00e9it \u00e0 des d\u00e9finitions multiples et probl\u00e9matiques. Ce qu’on appelle po\u00e9sie varie selon les \u00e9poques. Une approche historique permet de voir les acceptions diff\u00e9rentes de la \u00ab\u00a0po\u00e9sie’.<\/span><\/span><\/div>\n
\n    Au Moyen \u00c2ge, la po\u00e9sie est artisanale et chant\u00e9e : elle est l’art des troubadours, puis des trouv\u00e8res. Au XVIe si\u00e8cle, la po\u00e9sie devient un langage sacr\u00e9 et magnifi\u00e9 – notamment sous l’influence de la Pl\u00e9iade. Puis la po\u00e9sie trouve des r\u00e8gles qui la codifient, en particulier avec Malherbe au XVIIe si\u00e8cle. Elle devient un jeu de salon, parfois une mise en forme des id\u00e9es comme la po\u00e9sie didactique au XVIIIe si\u00e8cle. Au XIXe si\u00e8cle, la po\u00e9sie romantique rompt avec cette conception pour retremper la po\u00e9sie aux sources de l’\u00e9motion, de l’imaginaire et du chant. La po\u00e9sie moderne h\u00e9rite de cette conception et la modifie, elle cherche \u00e0 trouver un langage neuf et invente des formes nouvelles : vers libre, po\u00e8me en prose. Au XXe si\u00e8cle, la po\u00e9sie fran\u00e7aise, apr\u00e8s le surr\u00e9alisme, multiplie les formes nouvelles, comme si la po\u00e9sie devait se r\u00e9inventer chaque fois dans chaque po\u00e8me.<\/span><\/span><\/div>\n
\n    Sch\u00e9matiquement, la po\u00e9sie, originellement usage tr\u00e8s r\u00e9gl\u00e9 de la langue (importance du vers, du rythme), s’est orient\u00e9e vers un usage souvent d\u00e9r\u00e9gl\u00e9 de la langue dans la po\u00e9sie moderne et contemporaine.<\/span><\/span><\/div>\n
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\n La po\u00e9sie du Moyen \u00c2ge et du XVIe si\u00e8cle<\/b><\/span><\/span><\/div>\n
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\n1. Les origines de la po\u00e9sie fran\u00e7aise<\/b><\/u><\/span><\/span>
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\n    Les chansons de gestes ou r\u00e9cits h\u00e9ro\u00efques<\/b> sont nos premiers po\u00e8mes.
\nCompos\u00e9s de \u00ab\u00a0laisses\u00a0\u00bb, couplets de d\u00e9casyllabes, et pr\u00e9sentant une
\nsimple assonance en fin de vers, elles \u00e9taient chant\u00e9es par des
\ntroubadours ou trouv\u00e8res. Elles illustrent la po\u00e9sie \u00e9pique<\/b> en c\u00e9l\u00e9brant les exploits de Charlemagne : Chanson de Roland<\/i> (XIe si\u00e8cle), Huon de Bordeaux<\/i>, Charroi de N\u00eemes<\/i> (XIIe si\u00e8cle)… A cette tradition peuvent \u00eatre rattach\u00e9es quelques \u00e9pop\u00e9es ult\u00e9rieures telles que La Franciade<\/i> (Ronsard, 1572), et La Henriade<\/i> (Voltaire, 1728). <\/span><\/span>
\n    Les premi\u00e8res voix lyriques<\/b> se font entendre peu apr\u00e8s. Cette po\u00e9sie gagne le nord de la France et devient la po\u00e9sie des trouv\u00e8res. Le lyrisme se d\u00e9veloppe alors de Rutebeuf \u00e0 Villon. <\/span><\/span>
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Fran\u00e7ois Villon<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

  
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\n\u25a0  Rutebeuf <\/b>(XIIIe) associe ainsi la plainte et l’ironie :<\/span><\/span><\/div>\n

                                    <\/i>Pauvre sens [esprit] et pauvre m\u00e9moire<\/span><\/span>
\n                                    M’a donn\u00e9 Dieu, le roi de la gloire<\/span><\/span>
\n                                                      et pauvre rente, <\/span><\/span>
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\n\u25a0 Fran\u00e7ois Villon<\/b> (1431-1463) est notre premier po\u00e8te moderne : (Les Testaments<\/i>, Ballade des pendus<\/i>, Ballade des dames du temps jadis<\/i>) :<\/span><\/span><\/div>\n

                                    H\u00e9 Dieu ! si j’eusse \u00e9tudi\u00e9<\/span><\/span>
\n                                    Au temps de ma jeunesse folle<\/span><\/span>
\n                                    Et \u00e0 bonnes m\u0153urs d\u00e9di\u00e9<\/span><\/span>
\n                                    J’aurais maison et couche molle<\/span><\/span><\/div>\n

\n       A la fin du si\u00e8cle, la po\u00e9sie des Grands Rh\u00e9toriqueurs<\/b> joue davantage des ressources du langage.<\/span><\/span><\/div>\n
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\n    Au XVIe si\u00e8cle<\/b> s’\u00e9panouit d’abord la po\u00e9sie de cour<\/b> avec Marguerite de Navarre <\/b>(L’Heptam\u00e9ron<\/i>), galante sans pruderie, et Cl\u00e9ment Marot<\/b> (Ep\u00eetres<\/i>, Ballades<\/i>, Rondeaux<\/i>), \u00e9picurien et malicieux. Cl\u00e9ment Marot est habile dans les jeux savants mais fait aussi entendre, comme Villon, une voix personnelle et invente des formes po\u00e9tiques nouvelles. Louise Lab\u00e9<\/b> (1524-1566) affirme dans ses Sonnets<\/i> le droit des femmes d’aimer et d’y prendre du plaisir :<\/span><\/span>
\n                                      Tout \u00e0 un coup je ris et je larmoye<\/span><\/span>
\n                                      Et en plaisir maint grief tourment j’endure<\/span><\/span>
\n                                      Mon bien s’en va, et a jamais il dure<\/span><\/span>
\n                                      Tout en un coup je seiche et je verdoye.<\/span><\/span><\/div>\n
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\n    Agrippa d’Aubign\u00e9<\/b>, obs\u00e9d\u00e9 par la mort et par la foi, compose une \u00e9pop\u00e9e, Les Tragiques<\/i>, qui d\u00e9nonce longuement les horreurs des guerres de religion – imput\u00e9es aux catholiques – avant d’\u00e9voquer l’espoir d’une r\u00e9surrection c\u00e9leste et cosmique. Il signe sans doute l’un des premiers engagements politiques :<\/span><\/span>
\n                                      Je dispense, dit-il, du droit contre le droit ;<\/span><\/span>
\n                                      Celui que j’ai donn\u00e9, quand le Ciel le voudroit,<\/span><\/span>
\n                                      Ne peut \u00eatre sauv\u00e9 ; j’autorise le vice,<\/span><\/span>
\n                                      Je fais le fait non fait, de justice injustice.<\/span><\/span><\/div>\n
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\n2. La Pl\u00e9iade et la naissance de la po\u00e9sie moderne<\/b><\/u><\/span><\/span>
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    Admirateurs du po\u00e8te grec Pindare, des po\u00e8tes latins Horace, Virgile, Ovide, et des po\u00e8tes italiens alors \u00e0 la mode (Dante, P\u00e9trarque), Ronsard<\/b> (1524-1585), Du Bellay<\/b> (1522-1560) et quelques autres constituent un c\u00e9nacle : la Pl\u00e9iade<\/b> et se donnent pour mission de rendre la langue fran\u00e7aise propre \u00e0 l’expression artistique<\/b>.<\/span><\/span>
\n    Ils l’\u00e9purent d’archa\u00efsmes, d’emprunts aux dialectes r\u00e9gionaux, de termes de m\u00e9tiers, pr\u00e9conisent la cr\u00e9ation de mots nouveaux, de m\u00e9taphores, de p\u00e9riphrases, pratiquent une prosodie plus rigoureuse et annoncent le Classicisme en se mettant \u00e0 l’\u00e9cole des Anciens (Du Bellay, D\u00e9fense et illustration de la langue fran\u00e7aise<\/i>, 1549)<\/span><\/span>
\n    Les Regrets<\/i> (Du Bellay, 1558) et Les Amours<\/i> (Ronsard, 1552-1556) c\u00e9l\u00e8brent, en r\u00e9f\u00e9rence \u00e0 la mythologie, les th\u00e8mes lyriques<\/b> qui nourriront d\u00e9sormais la po\u00e9sie : sentiment de la nature, passion amoureuse, fuite du temps… :<\/span><\/span>
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\n                                         Le temps s’en va, le temps s’en va, ma Dame<\/span><\/span>
\n                                         Las ! Le temps, non, mais nous nous en allons<\/span><\/span>
\n                                         Et t\u00f4t serons \u00e9tendus sous la lame ;<\/span><\/span>
\n                                         Et des amours desquelles nous parlons<\/span><\/span>
\n                                         Quand nous serons morts, n’en sera plus nouvelle ;<\/span><\/span>
\n                                         Pour ce aimez-moi cependant qu’\u00eatre belle.<\/span><\/span>
\n                                                                   (Ronsard, Imit\u00e9 de Marulle<\/i>, 1571)<\/span><\/span>
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\nSources : Manuel d’analyse des textes, Histoire litt\u00e9raire et po\u00e9tique<\/i>, J. et M. Vassevi\u00e8re, R. Lancrey-Javal, L<\/span><\/span>. Vigier, Armand Colin ; Le Commentaire litt\u00e9raire et l’explication de texte<\/i>, Jean Glorieux, Ellipses<\/div>\n","protected":false},"excerpt":{"rendered":"

HISTOIRE DE LA PO\u00c9SIE        La po\u00e9sie ob\u00e9it \u00e0 des d\u00e9finitions multiples et probl\u00e9matiques. Ce qu’on appelle po\u00e9sie varie selon les \u00e9poques. Une approche historique permet de voir les acceptions diff\u00e9rentes de la \u00ab\u00a0po\u00e9sie’.     Au Moyen \u00c2ge, la po\u00e9sie est artisanale et chant\u00e9e : elle est l’art des troubadours, puis des trouv\u00e8res. Au…<\/p>\n","protected":false},"author":2,"featured_media":24,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[5],"class_list":["post-23","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe","tag-poesie"],"yoast_head":"\nHistoire de la po\u00e9sie : 1. 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