Pierre de Ronsard (French pronunciation:[pjɛʁdəʁɔ̃saʁ]; 11 September 1524 – 27 December 1585) was a French poet known in his generation as a "prince of poets".^[1] His works includeLes Amours de Cassandre (1552),Les Hymnes (1555-1556),Les Discours (1562-1563),La Franciade (1572), andSonnets pour Hélène (1578).

Pierre de Ronsard
Born	11 September 1524 Couture-sur-Loir, France
Died	27 December 1585(1585-12-27) (aged 61) La Riche, France
Occupation	Poet
Language	Middle French
Education	Collège de Navarre
Literary movement	La Pléiade,French Renaissance
Notable works	Les Odes,Les Amours,Sonnets pour Hélène,Les Discours
Signature

Ronsard was born at Manoir de la Possonnière in the village ofCouture-sur-Loir,Vendômois. His father servedFrancis I asmaître d'hôtel du roi. Ronsard received an education at home before attending theCollege of Navarre inParis at age nine. He later travelled extensively, including visits toScotland,Flanders, andHolland. After a hearing impairment halted his diplomatic career, Ronsard dedicated himself to study at theCollège Coqueret. He later became the acknowledged leader ofLa Pléiade, a group of sevenFrench Renaissance poets.

His works were both admired and criticized throughout his life, and his reputation was established by critics such asCharles Augustin Sainte-Beuve. His poetry is characterized by its peculiar use of language and imagery, and a great variety of metre.

Pierre de Ronsard was born at the Manoir de la Possonnière, in the village ofCouture-sur-Loir,Vendômois (in present-dayLoir-et-Cher). Baudouin de Ronsard or Rossart was the founder of the French branch of the house, and made his mark in the early stages of theHundred Years' War. The poet's father was Louis de Ronsard, and his mother was Jeanne de Chaudrier, who came from a noble and well-connected family. Pierre was the youngest son. Louis de Ronsard wasmaître d'hôtel du roi toFrancis I, whose captivity afterPavia had just been ameliorated by treaty, and who had to leave home shortly after Pierre's birth.

The future poet was educated at home in his earliest years and sent to theCollège de Navarre in Paris at age nine. WhenMadeleine of France married toJames V of Scotland, Ronsard became apage in the Scottish court, where he became inspired to render French vernacular translations of classical authors.^[1] A year after the death of the queen, he returned to France, travelling back throughEngland.

Further travel took him toFlanders,Holland, and again, for a short time, Scotland, on diplomatic missions on with Claude d'Humières, seigneur deLassigny.^[2] He then became secretary to the suite ofLazare de Baïf, the father of his future colleague in thePléiade and his companion on this occasion, Antoine de Baïf, at the diet of Speyer. Afterwards he joined the entourage of the cardinal du Bellay-Langey; his notorious quarrel withFrançois Rabelais dates from this period.

His apparently promising diplomatic career was cut short by an attack of deafness following a 1540 visit, as part of legation to Alsace, that no physician could cure; he would subsequently determine to devote himself to study. The institution he chose for the purpose among the numerous schools and colleges of Paris was the Collège Coqueret, the principal of which wasJean Daurat — afterwards the "dark star" (as he has been called from his silence in French) of the Pléiade, and already an acquaintance of Ronsard's from having held the office of tutor in the Baïf household.Antoine de Baïf, Daurat's pupil, accompanied Ronsard;Remy Belleau shortly followed;Joachim du Bellay, the second of the seven, joined not much later.Muretus (Marc Antoine de Muret), a great scholar and by means of hisLatin plays a great influence in the creation of French tragedy, was also a student here.

Ronsard's period of study occupied seven years, and the first manifesto of the new literary movement, which was to apply to thevernacular the principles of criticism and scholarship learnt from the classics, came not from him but from Du Bellay. TheDéfense et illustration de la langue française of the latter appeared in 1549, and the Pléiade (or Brigade, as it was first called) may be said to have been then launched. It consisted, as its name implies, of seven writers whose names are sometimes differently enumerated, though the orthodox canon is beyond doubt composed of Ronsard, Du Bellay, Baïf, Belleau,Pontus de Tyard (a man of rank and position who had exemplified the principles of the friends earlier),Jodelle the dramatist, and Daurat. Ronsard's own work came a little later, and a rather idle story is told of a trick of Du Bellay's which at last determined him to publish. Some single and minor pieces, anepithalamium on Antoine de Bourbon andJeanne de Navarre (1550), a "Hymne de la France" (1549), an "Ode a la Paix," preceded the publication in 1550 of the four first books ("first" is characteristic and noteworthy) of theOdes of Pierre de Ronsard.

This was followed in 1552 by the publication of hisAmours de Cassandre with the fifth book of Odes, dedicated to the 15-year-old Cassandre Salviati, whom he had met atBlois and followed to her father'sChâteau de Talcy. These books excited a violent literary quarrel.Marot was dead, but he left numerous followers, some of whom saw in the stricter literary critique of the Pléiade, in its outspoken contempt of merely vernacular and medieval forms, in its strenuous advice to French poetry to "follow the ancients," and so forth, an insult to the author of theAdolescence Clémentine and his school.^[3]

His popularity in his own time was overwhelming and immediate, and his prosperity was unbroken. He published hisHymns, dedicated to Margaret de Valois, in 1555; the conclusion of theAmours, addressed to another heroine, in 1556; and then a collection ofŒuvres completes, said to be due to the invitation ofMary Stuart, Queen ofFrancis II, in 1560; withElégies, mascarades et bergeries in 1565. To this same year belongs his most important and interestingAbrégé de l'art poétique français.

The rapid change of sovereigns did Ronsard no harm.Charles IX, King of France, who succeeded his brother after a very short time, was even better inclined to him than Henry and Francis. He gave him rooms in the palace; he bestowed upon him diverse abbacies and priories; and he called him and regarded him constantly as his master in poetry. Neither was Charles IX a bad poet. This royal patronage, however, had its disagreeable side. It excited violent dislike to Ronsard on the part of theHuguenots, who wrote constantpasquinades against him, strove (by a ridiculous exaggeration of the Dionysiac festival at Arcueil, in which the friends had indulged to celebrate the success of the first French tragedy, Jodelle'sCleopatre) to represent him as alibertine and anatheist, and (which seems to have annoyed him more than anything else) set up his followerDu Bartas as his rival.

According to some words of his own, they were not contented with this variety of argument, but attempted to have him assassinated. During this period, Ronsard began writing the epic poem theFranciade (1572), a work that was never finished and is generally considered a failure due to its versification—a decasyllabic metre ofrimes plates that corresponds poorly with the genre of epic poetry. The metre (thedecasyllable) could not but contrast unfavourably with the magnificentalexandrines that Du Bartas andAgrippa d'Aubigné were shortly to produce; the general plan is feebly classical, and the very language has little or nothing of that racy mixture of scholarliness and love of natural beauty which distinguishes the best work of the Pléiade. The poem could never have had an abiding success, but at its appearance it had the singular bad luck almost to coincide with themassacre of St Bartholomew, which had occurred about a fortnight before its publication. One party in the state were certain to look coldly on the work of a minion of the court at such a juncture, the other had something else to think of.

The death of Charles made little difference in the court favour which Ronsard enjoyed, but, combined with his increasing infirmities, it seems to have determined him to quit court life. During his last days he lived chiefly at a house which he possessed inVendôme, the capital of his native province, at his abbey at Croix-Val in the same neighbourhood, or else at Paris, where he was usually the guest of Jean Galland, well known as a scholar, at the College de Boncourt. It seems also that he had a town house of his own in the Fauhourg Saint-Marcel. At any rate his preferments made him in perfectly easy circumstances, and he seems neither to have derived nor wished for any profit from his books. A half-jocular suggestion that his publishers should give him money to buy "du bois pour se chauffer" in return for his last revision of hisŒuvres complètes is the only trace of any desire of the kind. On the other hand, he received not merely gifts and endowments from his own sovereign but presents from many others, includingElizabeth I of England.Mary, Queen of Scots addressed him from her prison, andTasso consulted him on theGerusalemme.

His last years were saddened not merely by the death of many of his closest friends, but by increasing ill health. This did not interfere with the quality of his literary work; he was rarely idle, and some of his final verse is among his best. But he indulged the temptation to alter his work repeatedly, and many of his later alterations are not improvements. Towards the end of 1585 his health deteriorated, and he seems to have moved restlessly from one of his houses to another for some months. When the end came—which, though in great pain, he met in a resolute and religious manner—he was at his priory of Saint-Cosme inTouraine, and he was buried in the church of that name on Friday, 27 December 1585.

The character and fortunes of Ronsard's works are among the most remarkable inliterary history, and supply in themselves a kind of illustration of the progress ofFrench literature during the last three centuries. It was long his fortune to be almost always extravagantly admired or violently attacked. At first, as has been said, the enmity, not altogether unprovoked, of the friends and followers of Marot fell to his lot, then the still fiercer antagonism of the Huguenot faction, who, happening to possess a poet of great merit in Du Bartas, were able to attack Ronsard at his tenderest point. But fate had by no means done its worst with him in his lifetime. After his death the classical reaction set in under the auspices ofMalherbe, who seems to have been animated with a sort of personal hatred of Ronsard, though it is not clear that they ever met. AfterMalherbe, the rising glory ofCorneille and his contemporaries obscured the tentative and unequal work of the Pléiade, which was, moreover, directly attacked byBoileau himself, the dictator of French criticism in the last half of the 17th century.

Then Ronsard was, except by a few men of taste, such asJean de La Bruyère andFénelon, forgotten when he was not sneered at. In this condition he remained during the whole 18th century and the first quarter of the 19th. TheRomantic revival, seeing in him a victim of its specialbête noire Boileau, and attracted by his splendid diction, rich metrical faculty, and combination of classical and medieval peculiarities, adopted his name as a kind of battle-cry, and for the moment exaggerated his merits somewhat. The critical work ofSainte-Beuve in hisTableau de la littérature française au 16ème siècle, and later of other authors, has established Ronsard's reputation.

Ronsard was the acknowledged chief of thePléiade and its most voluminous poet. He was probably also its best, though a few isolated pieces of Belleau excel him in airy lightness of touch. Several sonnets of Du Bellay exhibit the melancholy of the Renaissance more perfectly than anything of his, and the finest passages of theTragiques and theDivine Sep'Maine surpass his work in command of the alexandrine and in power of turning it to the purposes of satirical invective and descriptive narration. But that work is very extensive (we possess at a rough guess not much short of a hundred thousand lines of his), and it is extraordinarily varied in form. He did not introduce the sonnet into France, but he practised it soon after its introduction and with skill - the famous "Quand vous serez bien vieille" being one of the acknowledged gems of French literature.

His many odes are interesting, and at best are fine compositions. He began by imitating the strophic arrangement of the ancients, but very soon had the wisdom to desert this for a kind of adjustment of the Horatian ode to rhyme, instead of exact quantitative metre. In this latter kind he devised some exquisitely melodious rhythms of which, till our own day, the secret died with the 17th century. His more sustained work sometimes displays a bad selection of measure; and hisoccasional poetry—epistles,eclogues, elegies, etc.--is injured by its vast volume. But the preface to theFranciade is a fine piece of verse, superior (it is in alexandrines) to the poem itself. In general, Ronsard is best in his amatory verse (the long series of sonnets and odes to Cassandre, Pikles, Marie, Genévre, Héléne—Héléne de Surgeres, a later and mainly "literary" love—etc.), and in his descriptions of the country (the famous "Ode à Cassandre[1]," the "Fontaine Bellerie," the "Forêt de Gastine," and so forth), which are graceful and fresh. He used the graceful diminutives which his school set in fashion. He knew well too how to manage the gorgeous adjectives ("marbrine," "cinabrine," "ivoirine" and the like) which were another fancy of the Pléiade. In short, Ronsard shows eminently the two great attractions of French 16th-century poetry as compared with that of the two following ages - magnificence of language and imagery and graceful variety of metre.

The chief separately published works of Ronsard are noted above. However, during his life he produced a vast number of separate publications, some of them mere pamphlets or broadsheets, which from time to time he collected, often striking out others at the same time, in the successive editions of his works. Of these he himself published seven - the first in 1560, the last in 1584. Between his death and the year 1630 ten more complete editions were published, the most famous of which is the folio of 1609. A copy of this presented bySainte-Beuve toVictor Hugo, and later in the possession ofMaxime du Camp, has a place of its own in French literary history. The work of Claude Binet in 1586,Discours de la vie de Pierre de Ronsard, is very important for early information, and the author seems to have revised some of Ronsard's work under the poet's own direction.

From 1630 Ronsard was not again reprinted for more than two centuries. Yet just before the close of the second Sainte-Beuve printed a selection of his poems to accompany the above-mentioned Tableau (1828). There are also selections,Choix de poésies - publiées par A. Noël (in theCollection Didot) andBecq de Fouquières. In 1857 Prosper Blanchemain, who had previously published a volume ofŒuvres inédites de Ronsard, undertook a complete edition for theBibliothèque Elzévirienne, in eight volumes. It is practically complete; a few pieces of a somewhat free character which are ascribed with some certainty to the poet are, however, excluded. A later and better edition still is that ofMarty-Laveaux (1887–1893), and another that of Benjamin Pifteau (1891).

•   This article incorporates text from a publication now in thepublic domain: Saintsbury, George (1911). "Ronsard, Pierre de".Encyclopædia Britannica. Vol. 23 (11th ed.). pp. 691–693.

• Hennigfeld, Ursula:Der ruinierte Körper: Petrarkistische Sonette in transkultureller Perspektive Würzburg: Königshausen & Neumann, 2008.

• Sainte-Beuve, articles in theCauseries du lundi.
• F. L. Lucas, "The Prince of Court-Poets", an essay on Ronsard inStudies French and English (London, 1934), pp. 76–114. (Online. Revised edition 1950; reprinted inThe Cassell Miscellany (London, 1958).

• Biography, Bibliography, Analysis(in French)
• Podcast: Audio reading of the poem «Je n'ai plus que les os»(in French)
• Background and digital facsimiles of rare editions of Ronsard's works At the University of Virginia's Gordon Collection
• Works by or about Pierre de Ronsard at theInternet Archive
• Works by Pierre de Ronsard atLibriVox (public domain audiobooks) 
• Elégies, XXIV, Contre les bûcherons de la forêt de Gastin (in French)