Conclusion

Christopher D. Rolfe

From Saint-Amant and the Theory of 'Ut Pictura Poesis' (1972), pp. 93-97, doi:10.59860/td.c58c723

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Part of the book: Saint-Amant and the Theory of 'Ut Pictura Poesis'

Christopher D. Rolfe

MHRA Texts and Dissertations 6

Modern Humanities Research Association

RenaissanceFrenchPoetryopen


Abstract.  When, after over a century of unjust neglect, Saint-Amant was rediscovered in the early nineteenth century, it was largely due to the efforts of Théophile Gautier who devoted a chapter of his Grotesques to a spirited appraisal of his predecessor's achievement. Now, whilst we are not entitled to read too much into this — for he was to attempt to rehabilitate a number of other forgotten poets — it is nevertheless intriguing that it should have been Gautier who — having long hesitated between becoming a painter and becoming a poet and having finally compromised by making words 'paint' — was to be responsible for the revival of interest in an earlier poet-painter'. As might have been ex- pected he was particularly alive to the pictorial qualities of Saint-Amant's poetry.

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