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Jacques Amyot, Preceptor of Two Kings

Published online by Cambridge University Press:  20 November 2018

Alfred Adler*
Affiliation:
Brooklyn College
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Extract

Relatively little is known about the actual influence of Jacques Amyot on Charles IX and Henry III, who were entrusted as young boys to his pedagogical care. Amyot's translation of the works of Plutarch was so popular that Montaigne called it a ‘breviaire’. It is hardly conceivable that his efforts as an educator should not have left a traceable imprint. In this paper I have attempted to trace this imprint. The question of whether or not Amyot's influence on the two last Valois is to be qualified as constructive will entail another question: ‘Was Amyot's pedagogy a success or a failure within the sphere of literature, the arts and “culture” in the restricted sense, or in the sphere of action, political and socio-economic?’ An attempt to answer these questions might open up an interesting late Renaissance vista into the relationship between ‘art for art's sake’ and ‘art as social significance’.

Type
Research Article
Copyright
Copyright © Renaissance Society of America 1957

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References

1 Montaigne, , Essais, ed. Villey, P. (Paris, 1922), I, 4, II, 46.Google Scholar

2 Cioranescu, A., Vie de Jacques Amyot (Paris, 1941), pp. 72, 75-76, 78-92.Google Scholar

3 de Tyard, Pontus, Œuvres poétiques, ed. Laveaux, Marty (Paris, 1875), 1, pp. xxiixxiii (préface).Google Scholar See also Yates, F. A., The French Academies of the Sixteenth Century (Warburg Institute, 1947), p. 99.Google Scholar

4 Sturel, R., Amyot, traducteur des Vies parallèles de Plutarque (Paris, 1909), pp. 607609.Google Scholar See also Cioranescu, , Vie, p. 75.Google Scholar

5 Cioranescu, p. 74.

6 Cioranescu, p. 189.

7 Yates, pp. 36-76 (especially p. 36).

8 Dorez, L., Revue d'histoire littéraire de la France (1894), p. 160.Google Scholar See also Yates, p. 71.

9 Yates, passim.

10 Œuvres Mêlées de Plutarque (ed. of 1820, xxii, 96). Amyot, though noticing here that ‘le style [of De Musica] ne semble point être de Plutarque’, counted the work as a part of the corpus of his author.

11 Yates' translation in Academies, pp. 37-38.

12 See n. 7.

13 See Baïf's praise of Amyot in Baïf, Œuvres en rime, ed. Marty Laveaux (Paris, 1881), II, 432-435.

14 De la musique (ed. quoted n. 10), XL (p. 123), XL (p. 124), LXII (pp. 140-141), LXIII (p. 142), LXIV (p. 142), LXV (p. 143). Italics and brackets added.

15 For the central position of Plato among the educative influences on Plutarch, see Ziegler, K., Plutarchos von Chaironeia (Stuttgart-Waldsee, 1949 Google Scholar, Beitrag zu Pauly's Realenzyklopädie der klassischen Altertumswissenschaft), pp. 141 ff.

16 For Plato's works used by Plutarch, see Jones, R. Miller, The Platonism of Plutarch (Chicago, 1916), pp. 133 ff.Google Scholar For passages in Plutarch's works relevant to the topic of music, see Weil, H. and Reinach, Th., Plutarque de la musique (Paris, 1900), pp. liiilxix.Google Scholar

17 Yates, pp. 31, 105 ff. Lavy, P. H., Music in Western Civilization (1942), p. 304 Google Scholar, feels that the Palace Academy supplanted Baïf's Academy. Yates (p. 105) stresses the continuity.

18 From Baïf's prefatory poem in Guillaume de Postely, Musique (1570), published by Expert, H., Les Maîtres Musiciens…. (Paris, 1894-1904), part 3.Google Scholar

19 On Henry III, sponsor of religiously toned musical pursuits, see Yates, pp. 152-176; on the Maison de Charité and its location, p. 158.

20 Yates, p. 161.

21 Yates, pp. 167, 221-235.

22 The list of members in Bibliothèque de l'Arsenal MS. 2028, 35-36, edited by P. Champion in Grassot, Jules, Sommaire mémorial (Paris, 1934), pp. xixii Google Scholar, n. 4. See also Yates, p. 327 and p. 164.

23 Cioranescu, p. 132.

24 Cioranescu, p. 192. (There also about the history of the MS.) Italics added.

25 See Yates, Appendix 1, p. 320.

26 Yates, p. 41.

27 Amyot, Jacques, Plutarque. Les vies des hommes illustres, ed. Walter, Gérard (Paris, 1951 Google Scholar, Bibliothèque de la Pléiade, 43), pp. 115, 140. Italics added.

28 The connection between religion and music and poetry is indicated already in Pontus de Tyard's Premier Curicux. See The Universe of Pontus de Tyard, ed. John O. Lapp (Ithaca, 1950), pp. 125-126, and Yates, p. 152.

29 For the importance of Plato's Laws in Baïf's circle, see Yates, p. 37. In French, extracts of Laws III were translated by L. LeRoy, 1562 (1566). See Bolgar, R. R., The Classical Heritage (Cambridge, 1954)Google Scholar, Appendix II, p. 520.

30 For Aelius Aristides, influenced by Plato's Laws at a time when Plutarch was ‘the most influential writer’, see Oliver, J. H., “The Ruling Power. A Study of the Roman Empire in the 2nd Century after Christ through the Oration of Aelius Aristides’, Transactions of the American Philosophical Society, new series, xliii, 1943, pp. 874875 Google Scholar, 984-985, 991. According to Oliver (p. 871), Willem Canter had translated the oration into Latin in 1566. Did Amyot and the circle of Baif know this text so pertinent to their way of thinking?

31 Yates, pp. 221-235.

32 For all the mentioned details, see Yates, pp. 276-283; Lavaud, , Desportes, pp. 465 Google Scholar ff. Bremond, A., Literary History of Religious Thought in France, trans. Montgomery, V. L. (London, 1928), 1, 153.Google Scholar

33 Yates, p. 311.

34 Quaestiones in Genesim, Art. II, quaest. LV, col. 1479-1510; quoted from Lenoble, R., Mersenne ou la naissance du micanisme (Paris, 1943), p. 526.Google Scholar

35 Yates, pp. 287-288 and pp. 325-326.

36 Lenoble, p. 530.

37 On Mersenne and Baïf, see Lenoble, pp. 519 ff.

38 Yates, p. 288.

39 F. de Lauze, Apologie de la Danse, ed. and trans, by J. Wildeblood (London, 1952) (music transcribed by Tomer, E. M. from Harmonie universelle, by Mersenne, Marin, 1636, pp. 155161).Google Scholar