Pierre Gringore

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Gringore, Pierre


Born around 1475, probably in Thury-Harcourt (Calvados Department); died in 1538, probably in Lorraine. French dramatist, pamphleteer, and poet.

Gringore sympathetically depicted the townspeople in his poem The Chateau of Labor (1499). He was the author of pamphlets opposing the Roman curia. His short comic plays—the so-called soties, which were sharply political— became famous. Among them were The Hope for Peace (1510) and The Game of the Prince of Fools (1512), which ridiculed the Roman pope Julius II. Gringore was the author of the historical mystery The Life of Monseigneur St. Louis. Later, he switched to the reactionary camp. In the poem Heraldry of Heretics (1524), Gringore attempted to justify the Inquisition.


Oeuvres complètes, vols. 1–2. Rome, 1858–77. In Russian translation in Khrestomatiia po istorii zarubezhnogo teatra, vol. 1. Moscow, 1953. Pages 144–46.


Oulmont, C. Pierre Gringore. Paris, 1911.
Dittmann, W. Pierre Gringore als Dramatiker. Berlin, 1923. (Romanische Studien, fasc. 21. Edited by E. Ebering. [Contains a bibliography.])
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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Miranda Griffin applies a Derridean reading of the transformative processes at work in the Ovide moralise, Emma Campbell examines another facet of translation between the human world and the divine in her exploration of Rutebeuf's drama the Miracle de Theophile, while Noah Guynn tackles the problem of medieval understanding of the term catharsis in relation to the politics of Pierre Gringore's Le jeu du Prince des Sotz et de Mere Sotte.
The line in the spoken text might well be followed by a marginal notation repeating that he or she "goes toward the church." As a result, in analyzing the rhymed dialogues' relationship to the marginal notes found in Pierre Gringore's Vie de sainct Loys, Lynda Bourgogne asserts that the staging notations seem unnecessary to the narrative, but only because the spoken words themselves often direct the play's action.
Rather different from the other essays is Cynthia Brown's study of printed accounts of the 1514 Paris entry of Mary Tudor, orchestrated by Pierre Gringore, emphasizing the theatrical character of the staged events witnessed by the Queen as she passed through the city, and contrasting this presentation with the subsequent presentation of themes age via the medium of print.
Violent pamphlets against the papacy were composed, such as those written by Pierre Gringore, La Chasse au cerf des cerfs (1511) (directed at Julius II) and Le Jeu du prince des sots (1512).
The courtly vogue for Italianizing was not a new satirical target: it had already been treated in Gringore's Moralite (1512), Du Bellay's Regrets (1558), in Jean de la Taille's Le Courtisan retire (1574) and by Estienne himself in earlier works (see especially the Preface to Conformite).
Gringore was for a time its second dignitary, Mere Sotte ("Mother Fool").
Pierre Gringore. Les Entrees royales a Paris de Marie d'Angleterre (1514) et Claude de France (1517).
Pierre Gringore's play--in fact three related plays, a sottie, a morality, and a farce, totalling about 1,500 lines, and performed at the Halles in Paris on Mardi Gras in 1512--is a remarkable work in many ways; it is therefore all the more surprising that no true critical edition of the complete work has ever been published, although the farce was recently edited by Andre Tissier.
Other rhetoriqueurs were Jean Bouchet, Jean Marot, Guillaume Cretin, Pierre Gringore,
Furthermore, the text offers some pertinent insight into the development of the genre of satire, as it elucidates the transition from a satirical tradition heavily influenced by late medieval farce and sottie plays--which is illustrated in authors such as Pierre Gringore, Clement Marot, and the early Francois Rabelais--to a more syncretic satirical model that more thoroughly combines French sources and classical models.
It is good to have too a translation (no easy task given the elaborate sexual metaphor on which it is based) of Pierre Gringore's lively Raoullet Ployart, whose problem is nicely illustrated by his name.