Extract
[...] On the one hand, a satirical, ironic, sarcastic lexicon (whether addressed to the society of the time or to the lady) allows us to show the charms that a lady believes she has, in order to enjoy life without restriction, and thus her ability to want to 'transcend' death, certainly due to her own fear of the latter. [...]
[...] And how to mix laughter and tears without sarcasm? This verse making the sonnet no longer romantic, but sarcastic, no longer almost divine, but totally human, invites us to have a much more authentic vision of Carpe diem « seize the day » which, here by this sarcasm, could ironically be likened to Memento Mori "remember that you will die" which we will see below. c)-Reinvestment of the Carpe diem As we have just seen, Carpe diem is central here, whether it is with regard to the lexicon of the passing time l.3 "In 20 or 30 years they will not be in the world", l.6 "These two arms, plump, and these beautiful fingers will die", l.7 "Only in the coffin will the ashes remain" . [...]
[...] She wants to be free, play, have fun, free herself from this human condition, knowing that we are lingering to describe a perfect, immortal divine. This sonnet marks a turning point in poetry, as it shows desires, sometimes hidden fears, in a tone of irony, thus making it more than just a simple place of romanticism, but indeed a place of truth and expression of a human nature, present, and not entirely separate. Conclusion: That is why, to conclude, we can say that Jacques Grévin succeeded, while keeping certain codes of the sonnet, in reversing all the Petrarchan codes, as we have seen, in the service of a poetics of Gélodacrye, mixing laughter with tears. [...]
[...] But also to the pleasure of life transcending death to continue this present moment, as seen l.11. All this is in correlation with the Petrarchan sonnet, but, as seen previously (and as we will see later), this Carpe diem could also transcend to reveal the true topos of this sonnet, namely, the memento mori. The reversal of Petrarchan codes Between blason and counter-blason: the art of disfiguring As seen above, Petrarchism idolizes feminine beauty, so it is logical that, in reversing Petrarchan codes, this beauty is also reversed, not necessarily into ugliness, but more into criticism, irony? [...]
[...] That is why we can ask ourselves, in what way is the reversal of Petrarchan sonnet codes serving a poetics of Gélodacrye mixing laughter and tears? To do this, we will first see if this sonnet presents the characteristics of the Carpe diem (inherited from Ronsard). Then how Grévin reverses the Petrarchan codes, and finally how this reversal acts for a poetics of Gélodacrye. A sonnet in the form of Carpe diem ? A sonnet addressed to a lady: a conventional situation This situation is conventional because the sonnet of the 16th century is, by essence, addressed to a lady, to praise her beauty and thus allow the poet an expiation of his romantic passion. [...]
