Clément Marot

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Marot, Clément


Born 1496, in Cahors; died Sept. 10, 1544, in Turin. French poet. Son of the poet-rhetorician J. Marot.

Along with F. Rabelais, Marot was the most important figure of the early Renaissance in France. He gained success as a court poet, at first (from 1518) in the service of Marguerite d’Angouleme (Margaret of Navarre), and later of Francis I (from 1526). Marot’s court verses are unusually light and elegant for their time. His sympathy with the Reformation led to his persecution by the Catholic Church. At the same time, the poet’s life-affirming humanism went beyond the limits of Protestant ideology.

Marot’s Epistles, highly diverse in their genre nuances, occupy a central place in his legacy. He was an outstanding satirist who strongly condemned the reactionary camp, for example, in his narrative poem Hell (1526) and in his satirical epistles. He drew heavily upon popular literary tradition, from the song (in his love lyrics) to the fabliau, farce, and sotie. Marot combined the poetic traditions of the past (including F. Villon) with the latest achievements of humanistic culture. During his sojourn in Italy from 1534 to 1536, Marot became interested in Italian Petrarchism and classical literature. In the mid-1530’s, patriotic and civic motifs became more pronounced in his creative work, and a search for larger forms, to a certain extent anticipating the future achievements of the Pleiade, became evident.

Marot’s translations of the Psalms, on which he began work in the 1530’s, played an important role in the ensuing flowering of the French ode. M. Regnier, V. Voiture, J. de La Fontaine, and Voltaire were influenced by Marot, whose writings contain many signs of the emerging French national character.


Oeuvres, vols. 1-5. Edited by C. A. Mayer. London, 1958-70.
In Russian translation:
Bliumenfel’d, V. M. Poety frantsuzskogo Vozrozhdeniia. Leningrad, 1938.
Khrestomatiia po zarubezhnoi literature: Epokha Vozrozhdeniia, vol. 1. Compiled by B. I. Purishev. Moscow, 1959.


Shishmarev, V. F. Kleman Maro. Petrograd, 1915.
Istoriia frantsuzskoi literatury, vol. 1. Moscow-Leningrad, 1946. Pages 225-32.
Plattard, J. Cl. Marot. Paris, 1938.
Vianey, J. Les Epitres de Marot. Paris, 1962.
Smith, P. M. C. Marot: Poet of the French Renaissance. London, 1970.
Mayer, C. A. Bibliographic des oeuvres de Cl. Marot, vols. 1-2. Geneva, 1954.


References in periodicals archive ?
Literary works from authors such as Clement Marot, Joachim du Bellay and Jean de La Fontaine.
Amsterdam, 1789), IV: 168; "The Early French Poets," London Magazine 4 (December 1821): 587-593; Oeuvres completes de Clement Marot (Paris, 1824).
TEMPLE fe Cupido, composed by Clement Marot in 1513-14, narrates a quest for love that is not susceptible to change--Ferme Amour.
In 1539 Clement Marot, then the most prestigious of the court poets, published a translation of Six sonnetz de Petrarque sur la mort de sa Dame Laure (Six sonnets by Petrarch on the Death of His Lady Laura); Jacques Peletier followed in 1547, including in his Oeuvres Poetiques fifteen sonnets including twelve translated from Petrarch.
The word 'restaurant' was first used in the early sixteenth century by Clement Marot to refer to a group of fortifying meat broths.
Henri-Jean Martin gives us a work in progress concerning Francois Juste, the Lyon printer and type-founder of the Renaissance, and publisher of Francois Rabelais and Clement Marot.
In these central chapters Freedman considers topics such as the tradition of courtly love, which could readily be shifted into a spiritual dimension, and the poetry of Clement Marot and Pierre de Ronsard, each of which presented different challenges to the revisers.
Listringant describes the collaboration between Calvin and Clement Marot in producing a Reformed Psalter and its use by Huguenots in the Americas.
This magisterial study of Clement Marot (1496-1544) illuminates the early Reformation in France.
Landmark works include early editions of French writers such as the poet Clement Marot and the historian Philippe de Commynes; the first editions of major scientific texts including Christian Huyghens' Horologium oscillatorium (Paris, 1673) and Pierre de Fermat's collected works (Toulouse, 1679), among many others.
While scholars speak of an "emergence" of the author in sixteenth-century France--a literary moment that is sometimes located specifically in the person of Clement Marot (11)--Lemaire's literary self-consciousness and ability to call attention to himself, as well as to his poetic role, from within the body of his text, already adumbrates the new role for the writer that the sixteenth-century would usher in.
In her well-written and well-researched introduction, Dunn-Lardeau not only outlines Du Pre's role in the Querelle des femmes as a "traditionalist on certain points and innovator on others," but she also carefully analyzes each part of the Palais and its probable sources and examines where the work fits in the tradition of literary temples like those of Jean Lemaire de Belges and Clement Marot and Renaissance arts of memory (21-28, 59).