“C’est un amour ou Cupidon nouveau”: Spiritual Passion and the Profane Persona in Anne de Marquets’s <i>Les Divines Poesies de Marc Antoine Flaminius</i> (1568–1569)
Bibliographic record
Abstract
While best known for her 480 Sonets spirituels, published seventeen years after her death in 1605, the Dominican nun Anne de Marquets also contributed a remarkable collection of personal spiritual poetry during her lifetime in Les Divines Poesies de Marc Antoine Flaminius (Paris, chez N. Chesneau, 1568; reedited in 1569). In the pages following her translation of Marcantonio Flaminio’s Carminum sacrorum libellus, her original cantiques ou chansons spirituelles and sonets de l’amour divin reveal a convergence of Renaissance poetics and traditional Christian themes. In particular, Anne de Marquets looks to the Petrarchan tradition as a model for the expression of her love for the divine. Drawing on images and themes from Petrarch and his earliest French imitators, the Dominican adopts the poetic process promoted by the Pléiade, notably in Du Bellay’s Deffence et Illustration de la langue françoyse and in Ronsard’s ode Hercule chrestien.
 Connue aujourd’hui essentiellement pour ses 480 Sonets spirituels, recueil publié dix-sept ans après sa mort en 1605, la dominicaine Anne de Marquets a pourtant écrit d’autres poésies chrétiennes qui se trouvent à la suite de sa traduction du Carminum sacrorum libellus du poète néo-latin Marcantonio Flaminio (Les Divines Poesies de Marc Antoine Flaminius, [Paris : N. Chesneau, 1568, rééd. en 1569]). Dans ses cantiques ou chansons spirituelles et ses sonets de l’amour divin, Marquets exprime son amour pour le divin à travers divers modèles de la poésie renaissante. Elle pratique en particulier le pétrarquisme tel qu’il fut transmis par les poètes de la Renaissance française. S’inspirant des images et des thèmes trouvés chez Pétrarque et ses imitateurs, cette poésie s’inscrit dans le courant poétique mis en avant par la Pléiade, notamment dans la Deffence et Illustration de la Langue Francoyse de Du Bellay et dans l’ode ronsardienne Hercule chrestien.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.001 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".