Abstract
Abstract Chapter 2 outlines the three collections of moral poetry and their numerous musical settings that are the center of this study: Guy du Faur de Pibrac’s Quatrains (1574); the Octonaires de la vanité du monde (c. 1574) by Antoine de Chandieu, Simon Goulart, and Joseph Du Chesne; and Pierre Mathieu’s Tablettes ou Quatrains de la vie et de la mort (1610). Texts from these moral collections inspired polyphonic settings by the most important composers of the day, such as Orlande de Lassus, Paschal de L’Estocart, Guillaume Boni, Claude Le Jeune, and Artus Aux-Cousteaux. The poets, composers, and first audience for the Quatrains, Octonaires, and Tablettes were active participants in the Neostoic resurgence spearheaded by the Catholic magistracy associated with the Palais de Justice in Paris and Reformed Protestant pastor-scholars based in Geneva. Although exhibiting stylistic differences, these three collections were linked through their shared Stoic borrowings, print histories, and musical settings.
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