Poetic Language Research Articles

Narodziny „Lucifera”: poetycki "Kaukaz" Tadeusza Micińskiego

The author of this study analyzes the poetic cycle of the distinguished Polish lyric poet Tadeusz Miciński (1873–1918). The cycle, consisting of 19 poems titled Caucasus, was published in 1903 in the magazine Ateneum and later, after years of fragmentation, incorporated into the novel Nietota. The Secret Book of the Tatras (Kraków 1910). The interpreter questions what Miciński’s Caucasus represents against the backdrop of the Polish tradition of Caucasus portrayals. Exile to the Caucasus, forced enlistment into the Tsarist army, and Polish literature emerging from and upon return from the Caucasus have created a specific image of it: mountains boiling with history, exotic mountains. The Caucasus also appears in Polish ethnogenetic myths and in Messianism. Meanwhile, for Miciński, it serves as a symbol, metaphor, and metonymy of an internal striving for transformation. As a result, an internally dialectical “I” is formed, composed of human, luciferian, and divine elements. One of the few Caucasian accents here is the invocation of Shota Rustaveli, the Georgian poet, author of The Knight in the Tiger’s Skin, who is depicted as the “melancholic” singer of Queen Tamar. In the context of this image, an unsorrowful, vital trinitarian subject emerges in the lyrics, who, within the cycle-constellation code, addresses Lucifer with “I will go there.” The evolution of Miciński’s subject leads him, in 1913, to active engagement in history-making once again.

The influence of Hasidism in the poetic oeuvre of Szilárd Borbély

AbstractThe paper examines the influence of the literature of Hasidism on the oeuvre of contemporary Hungarian poet Szilárd Borbély (1963–1914). It analyzes the workings of regional cultural memory and the memory of the exterminated rural Jewish population, as well as of the former representatives of Hasidism in Hungary in Borbély's works. It also examines the poetics of his collection of poems Funereal Splendour and, more specifically, the fusion of Christian and Jewish elements, in which the principle of bricolage prevails, creating a specific, culturally hybrid poetic language. The most important example of this hybridization is the appearance of the messianic motif in the oeuvre, to which this study devotes special attention. Finally, the use of a Hasidic story-type in two of Borbély's works is also discussed.

Felt Anticipation: Rhythm, Expectation, and Emotion in Friederike Mayröcker’s Poetic Spoken Atmospheres

Abstract This paper addresses the work of the Austrian poet Friederike Mayröcker (1924–2021) with an interdisciplinary approach contextualised within Cognitive Poetics and Cognitive Literary Theory studies. The specific focus of this study is the voice and the meaning produced through the proposed notion of a ‘poetic spoken atmosphere’. The poetic spoken atmosphere is understood here not as the unique property of an audio-text but rather as an intersubjective phenomenon emerging at the intersection of the poetic language and a listener. This notion underlines the importance of voice and its effects in the dynamics of poetry reception in order to investigate sound patterns and meaning-making dynamics, approaching three specific processes – rhythm, expectation, and emotion. The general theoretical frame of this study is based on principles of both phenomenology and cognitive sciences. Likewise, the analysis of Mayröcker’s poems is based on her recordings, available on the Lyrikline platform of the Haus für Poesie Berlin, from which spectrograms were generated to complement the textual and acoustic analysis. The observations of this study address the vocal structures modulating what can be termed an ‘insideness’, which allows to analyze sound attributes such as duration, intensity, ubiquity, and disappearing. Recognising such attributes help us to understand the emotional level of poetic sounds, i. e. the relationship between feeling and meaning in listening, hypothesising that meaning is indeed felt. Finally, the paper offers a comparative perspective that suggests further research on the basis of the paper’s theoretical-analytical methodology, and it provides specific examples from several literary systems.

Speeches on Poetry

Paul Celan’s ‘Speeches’ determine what poetry is and why we need it. He does not want ‘timeless’ poetry but still ‘lays claim to infinity’; he would ‘reach through time’. He neither refuses poetry as contrary to reason, nor elevates it as pure immediacy of meaning. He questions the ambivalent attitudes towards art—as ‘artifice’ or as ‘profound’. Celan cuts into the loose fabric of such ordinary language to shape it. Those who trumpet ‘plain sense’ against such incisive art deface it as degenerate. Celan’s poetic language presents us as ‘of the earth’ and as ‘released from it’—Büchner’s Lenz seeks clarity in the silence of alpine light but falls into madness in his isolation. He is drawn towards the life of the villagers at the foot of the mountains. He perceives the warm household fires, but it is an illusion that he can be a part of that scene. Thus, Celan enquires into art’s intensity. It is at the risk of reciprocity that a reader entertains the language of a poem. Eliot’s old ‘shadow’ between ‘the idea and the reality’ now falls between the poet’s production and the reader’s reciprocation. The reader may need someone with a free hand to hold a lantern to the script.

Franz Rosenzweig’s and Paul Celan’s Early German Translations of Yehudah Halevi’s Hebrew Poems

Abstract My paper examines Franz Rosenzweig’s and Paul Celan’s translations of Yehudah Halevi’s poems, approaching the topic from the perspectives of both translation studies and literary criticism. On the one hand, I will scrutinize Rosenzweig’s and Celan’s translations against the backdrop of their theological approaches. I will also attempt to articulate the translation technique that Celan typically employed throughout his life, while translating from multiple languages into German. On the other hand, I will explore Celan’s implicit departure from Rosenzweig and his choice to specifically translate these two poems in light of his poetics, his notion of exile, and his exclusive choice of using German as his only poetic language.

Szakrális kéziratok szövegeinek szimbolikája

Symbols have always been an integral and permanent part of our poetry. Although their presence may be fading, they will never completely disappear. Symbols simultaneously influence both our conscious and subconscious thought, providing interpretive variations to encode meaning. A single word can often encapsulate an entire existential feeling that we might not be able to express or describe more clearly and emotionally, even with the help of a paraphrase. Of course, there are times when our emotional or even social circumstances prevent us from making specific declarations, manifestations. This study examines the textual symbolism of a sanctified manuscript collected in Solovka, a village located in Transcarpathia. The research’s mentioned source area is a settlement that has received little attention in the academic literature. The study offers insight into the traditional spirit that is still evident in the religious communities of the settlement today. It provides an opportunity for a deeper, reinterpreted understanding of the texts preserved by the community and their significance. We are working at the intersection of folklore and literature. The study reveals, among other things, that there is a strong connection between the two areas. During the analysis a number of symbols were identified that carry deeper meanings, especially in natural images. We dealt separately with the meanings of the flower, the tree, the torch, the seasons and the coffin. As an example, we compared the works of lyric poets with “folk writings”, focusing on the use of symbols. During the examination of texts intended for analysis, a clear parallel between ethnography and literature became evident. This connection was demonstrated through a comparison of certain literary works, poems and texts of folk manuscripts. Poets such as Friedrich Schiller, János Arany, Endre Ady, Dezső Kosztolányi, Mihály Csokonai Vitéz, and Sándor Weöres were quoted. The study also includes comparisons of the symbolism found in texts of wedding and funeral ceremonies. Despite the significant emotional distance between these stages of human life, text analysis suggests many similarities.

Meter Against Essentialism

AbstractRecent scholarship on poetic materiality has found itself caught between celebration of the way rhythm might link language and the body, on the one hand, and critiques of the way such a link can lead and has led to various types of essentialism, on the other. Rhythm has a long history of activating essentialist tropes of primitivism and savagery, which in turn see certain groups (children, women, the “insane,” or racialized others) as fully determined by sensory language and bodily rhythm. In the face of this history and its afterlives, I argue for meter as a resource to help readers and scholars of poetry identify and critique essentializing approaches while upholding at least the possibility of claims for the affective and somatic efficacy of poetic language.

Indigenous Feminism in the Yakthung/Limbu Tribe

The paper deals with the tenets of feminism immanent within the oral narratives, rhetorical traditions, folklores, folktale and culture of the Yakthung/Limbu tribe inhabiting the Himalayan belt, defying the dichotomy of sexes in Western narratives of the society at a universal level. Yakthung/Limbu tribe is an indigenous tribe of Eastern Nepal, Sikkim and West Bengal who are animist and shamanist in nature. Feminism, the belief in social, economic, and political equality of the sexes, although largely originating in the West as a properly structured and well-known theory, the paper endeavors to bring out the tenets of Feminism imbibed within the aforementioned aspects, prior to the inception of Feminism at a Global level. The paper analyzes the excerpts from the Yakthung/Limbu Mundhum, the oral religious scripture of the Yakthung/Limbu tribe wherein the two sexes are made to be at par with each other. The Yakthung/Limbu Mundhum consists of legends, folklores, prehistoric accounts, sermons and moral or philosophical exhortations in poetic language, generically which can be deemed as narrative oral poetry. These are the sources of information, directives, enlightenment for the Limbu’s that exercises an enormous influence in their way of life, customs, rites and rituals. The Yakthung/Limbu Mundhum is transmitted, narrated, recited and possessed by Yakthung/Limbu shamans known as “Peli-Phangsam” or “Murabangs”. The Yakthung/Limbu tribal societies have been practicing and following feminism as a matter of habit and culture that has come down from generations to generations. They do not follow it out of fear, compassion, rational enlightenment, education or compulsion, it is a necessity that comes quite naturally to them. It has been spontaneous and indigenous immanent within their culture and day to day practices. The paper in a way aims to deconstruct the Western narratives of the stature of women that is hitherto taken as ubiquitous and kindle the emergence of a paradigm contrary to the western.

TUKANG RABAB DAN KABA RABAB PASISIA DALAM ACARA BARALEK DI NAGARI TALAO

The study "Tukang Rabab dan Kaba Rabab Pasisia dalam Acara Baralek di Nagari Talao, Sumatra Barat" explores the competencies and presentation of kaba rabab pasisia in baralek events. This performance reveals the richness of Minangkabau culture, from a warm opening to a meaningful core story. Through poetic lyrics and captivating music, Kaba enriches understanding of Minangkabau cultural values. Tukang Rabab, as cultural guardians, adeptly perform rabab pasisia and master Minangkabau language and literature. Social interaction is key to their competence, living within the community of rabab pasisia artists and exchanging knowledge and skills. Despite facing modernization challenges, the art of rabab pasisia remains relevant and valuable. The participation of tukang rabab in cultural events, art training, and preservation projects strengthens Minangkabau identity and cultural heritage. This performance fosters community solidarity and serves as a platform for learning life values, enriching and preserving Minangkabau cultural identity, and encouraging the younger generation to uphold ancestral traditions

The Phenomenon Écriture Féminine and the Structuring of Poetic Language in the Poetry of Western Armenian Women Authors

There has been a great interest in the issue of women’s writing since the 1960s. The aim of the study is to examine the characteristics of the phenomenon of women's writing on the example of the features of the poetics of Western Armenian women authors’ works and to reevaluate not only the interactions and attitudes of Western Armenian women authors of the second half of the 19th century regarding the issue of women's emancipation, but also the idea of écriture féminine proposed by the French philosopher Hélène Cixous. The aim of the study is to examine not only the four-level semantic and ideological concepts of woman–subject and presence–state of mind– mood–language, but also the domains of the analysis of the eventfulness of the poem. The actuality of the study is conditioned by the interdisciplinary nature of the studied material, according to which it was analyzed in the context of mutual connections and relationships between literary studies, linguistics, and philosophy, using literary, linguistic, historical-comparative and phenomenological methods. This multiaspect approach to the study of the problem under investigation is justified by the effectiveness of its interdisciplinary examination. 1960-ական թվականներից մեծ է հետաքրքրությունը կնոջական գրականություն ֆենոմենի նկատմամբ: Ուսումնասիրության նպատակն է՝ արևմտահայ կին հեղինակների երկերի պոետիկայի առանձնահատկությունների օրինակով ուսումնասիրել կնոջական գրականություն ֆենոմենի առանձնահատկությունները, վերարժևորել ոչ միայն 19-րդ դարի երկրորդ կեսի արևմտահայ կին հեղինակների՝ կանանց ազատագրության հիմնախնդիրի շուրջ ունեցած փոխառնչություններն ու վերաբերմունքը, այլև ֆրանսիացի փիլիսոփա Հելեն Սիքսուի առաջադրած écriture féminine գաղափարը: Ուսումնասիրության խնդիրն է՝ արևմտահայ կին հեղինակների քերթվածները քննել ոչ միայն կին-սուբյեկտ և ներկայություն հոգեվիճակ-տրամադրություն-լեզու քառաստիճան իմաստաբանական և գաղափարաբովանդակային հայեցակարգերը, այլև բանաստեղծության իրադարձականության վերլուծության տիրույթները։ Ուսումնասիրության արդիականությունը պայմանավորված է ուսումնասիրվող նյութի միջգիտակարգայնությամբ, ըստ որի՝ այն վերլուծվել է գրականագիտության, լեզվաբանության և փիլիսոփայության միջև փոխադարձ կապերի և առնչությունների համատեքստում՝ գրականագիտական, լեզվաբանական, պատմահամեմատական համադրական և ֆենոմենոլոգիական մեթոդների կիրառմամբ: Այսօրինակ վերլուծություն կատարվում է առաջին անգամ: Այն կարևոր է և արդիական ոչ միայն միջգիտակարգայնության, այլև հայագիտության մեջ կանանց հիմնախնդրի վերլուծության տեսանկյունից։ С 1960-х годов наблюдается большой интерес к проблеме женского литературного творчества. Целью исследования является изучение феномена женского творчества на примере поэтических особенностей произведений западноармянских писательниц, а также отношения западноармян-ских писательниц второй половины XIX века к проблеме женской эмансипации и к écriture féminine, предложенной Элен Сиксу. Задачей исследования является рассмотрение не только четырехуров-невых семантико-мировоззренческих концептов женщина-субъект и присутствие-состояние души-настроение-язык, но и анализ событий-ности стихотворения. Актуальность исследования обусловлена меж-дисциплинарным характером изучаемого материала, проанализированного в контексте взаимосвязей литературоведения, языкознания и философии, с использованием литературоведческих, лингвистических, а также историко-сопоставительного и феноменологического методов. Следует отметить, что анализ проводится впервые. Он важен и актуа-лен не только с позиции междисциплинарности, но и с точки зрения анализа «женского вопроса» в арменоведении.

Scaling Imagination: The Language Machine and Poetry

The article focuses on the specificity and functions of metaphors in the poetry of Radosław Jurczak, and more broadly in the work of the youngest poets, for whom life in the world of digital media and the prospect of the development of artificial intelligence is an important part of their formative experience. The paper uses the terms introduced by Mark Fisher for this purpose: the weird and the eerie. The analysis compares poetic devices in Jurczak’s poems with the concept of poetic language of the first avant-garde, pointing out the changes occurring in the poetics and aesthetics of the works, also focusing on figures relating to the technological sphere of modernity. The paper polemizes with the view expressed by Jerzy Jarzębski, who considers the phrase “artificial intelligence” to be a fashionable and harmful oxymoron that defines the pragmatic, reductionist worldview of its users. The article argues that the incorporation of terms that have the status of catachreses and over-lexicalized metaphors in everyday language into the language of poetry allows their creative potential and ambiguity to be recovered. Finally, the paper considers scaling as a characteristic feature of the new poetic imagination, which also requires readers to take a new approach to the language of the new poetry.

IL CORPO VIVO DELLA LINGUA: ALCUNE CONSIDERAZIONI PRATICO-TEORICHE SULLE LINGUE «SPARGĂ» E «LEOPARDĂ» DI NINA CASSIAN E VIRGIL TEODORESCU

This contribution, starting from the studies of Giorgio Agamben, aims to highlight the peculiarity of two poetic languages invented by Nina Cassian and Virgil Teodorescu: the “spargă” language and the “leopardă” languages. The “spargă” and “leopardă” languages, developed during the surrealist period in Bucharest, embody the intrinsic dynamism of language. On the one hand, they reflect the multiplicity and original complexity of poetic language, where meanings are manifold and semantic closure is not definitive. On the other hand, these two fantastic languages highlight the pulsional heterogeneity underlying culture itself, suggesting that the truth of things does not directly coincide with what is explicitly said, but rather requires an act of translation and interpretation by the subject. Moreover, these two experimental idiolects can also be interpreted as poetic explorations that challenge the normative structures of the symbolic order, introducing elements of the semiotic that materially express the unconscious in art. The connection with Lacan’s “lalangue” is evident in their common focus on the pre-linguistic and affective dimensions of language, which transcend the limitations of ordinary communication.

Traditional and innovative in the poetics of I. S. Nikitin (to the 200th anniversary of the birth)

The article examines I. S. Nikitin’s poetics from the point of view of its continuity in relation to the achievements of his predecessors, lyric poets, and those original features the poet himself developed. The main method is an end-to-end textual analysis of I. S. Nikitin’s poetry collection in the unity of content and form. Additionally, the study used the research methods of linguistic stylistics, linguistic poetics, semasiology, and structural-semantic syntax. The metrical features of poetic texts are given in the interpretations of M. L. Gasparov’s school. Though I. S. Nikitin considered A. V. Koltsov his immediate teacher, his poems contain noticeable images, motifs, and linguistic reminiscences referring to other poets’ creative work, especially A. S. Pushkin’s. I. S. Nikitin creatively interpreted certain Pushkinian linguo-poetic techniques (the antithesis of vice–virtue in the reflection on the role of the poet and poetry, the illustrative comprehension of canonical Christian texts, the realistic use of the ballad and idyll genres, the patriotic pathos of civic poems, the use of classical metrical schemes, and others). I. S. Nikitin made a significant contribution to improving the artistic language of Russian realist poetry. He developed the song genre in literature, introduced a variety of dramaturgical principles into lyric poetry, and proposed original compositional schemes for philosophical, social, and landscape poems. In his writings, I. S. Nikitin refined the poetic syntax of homogeneous constructions. Moreover, he extended the motivic boundaries of Russian lyric poetry through elaboration and precise observations, as well as enriched the linguo-stylistic repertoire of its vocabulary. I. S. Nikitin’s work is organically, closely, and versatilely connected with the content and language development of Russian poetry in the second half of the 19th century.

The Poetic Image and its Role in the Visitor/Poet Shawqī’s Interaction with the Historical Monuments: An Analysis Study

The relationship between archaeology and language is one of the main subjects of both fields since most remains are related to humans and society. Linguists examine aspects and types of human language, such as the poetic language used in the context of recovering the past, its memories, and the referential meaning of its places. Based on the interrelation between Archaeological anthropology, language, and poetry, this study analyzes the neo-classical poet Aḥmad Shawqī's (1932) Sīnīya "Journey to Andalusia" in the light of the works of the linguist and anthropologist Arnold Van Gennep's (1957) "rites of passage" and the religious language scholar Theodore Gaster's (1992) "seasonal pattern," as employed by the critic Suzanne Stetkevych in reading the rituals of the journey in classic poetry. The study uses the descriptive method to uncover the poet's interactions with Islamic antiquities during his travels to Spain. It also shows the poet's movement, through his poetic language and images, from nostalgia to evocating the lost past Islamic remains, ending with blame to strengthening his Egyptian community's present and enlightening their future.

Una Trieste per due: Saba attraverso gli occhi di Covacich

This paper draws inspiration by the monologue Saba, produced by Teatro Stabile del Friuli Venezia Giulia and premiered in 2023, on the 140th anniversary of the poet’s birth. The performance serves as the final act of a trilogy dedicated to major figures of twentieth-century literature from Trieste, written and performed by Mauro Covacich. Covacich’s choice of performative medium aims to break down barriers and engage in a more direct, authentic, almost physical communication with his third numen, following Svevo and Joyce. In a vivid portrayal, Covacich emphasizes not only the power of Saba’s poetic language but also his human dimension. The backdrop is Trieste itself, a city intrinsically linked to both Covacich and Saba by an intense yet controversial relationship, though each in a different way. Covacich captures this emotional duality by referencing Saba’s most renowned works, as well as private letters and biographical anecdotes, and intertwining the poet’s personal experience with his own, thus turning the entire monologue into a shared journey.

Phraseologisms in Abdulla Oripov's Poetry

This article explores the use of phraseological units in the poetry of Abdulla Oripov, a renowned people's poet of Uzbekistan. It examines how Oripov skillfully incorporates phraseological expressions into his poems, enhancing their artistic value. The study also delves into synonymous phrases and lexical-phraseological synonyms, providing insight into their role in enriching poetic language. By analyzing the poet's use of these linguistic elements, the article aims to highlight the artistic and expressive potential of phraseological units in poetry. The research contributes to the understanding of phraseology in literary works and offers implications for further studies on the relationship between phraseology and poetic artistry.

Street Scenes: Langston Hughes, Lyric Pop, and Walter Benjamin’s Baudelaire

This article frames Langston Hughes’s 1947 collaboration with composer Kurt Weill on the “Broadway opera” Street Scene as a privileged opportunity to explore modern history’s extraordinary claims on poetic language and the limitations of allegoresis as a critical mode. Foregrounding Hughes’s understudied career as a pop songwriter, the article argues that the fragmented, unruly archive of the poet’s songwriting demands to be read allegorically, after the fashion of Walter Benjamin’s writings on Charles Baudelaire, whose own fusion of lyric and commodity forms anticipates Hughes’s pop lyrics. Ultimately, when we position Hughes as a successor of sorts to Benjamin’s Baudelaire, that “poet in the age of high capitalism,” we are invited at least temporarily to relieve the allegorical gaze of its restless search for hidden springs of critical agency and to relieve it, too, of its quest for the consolations of utopia. Hughes’s collaborative work on Street Scene instead teaches us how to locate and extol in seemingly compromised cultural artifacts an allegorical resourcefulness that precedes reception and is in fact synonymous, in Hughes’s case, with poetic making.

시와 산문의 경계에서 얻은 체득적 깨달음의 실현 - 장영수의 시를 중심으로

The purpose of this paper is to examine the world of poetry by Jang Young-soo, a poet from Wonju who wrote the Chiak Mountain series of poems. There are two main reasons for paying attention to Jang Young-soo. One is that even though he was born in Wonju, he was omitted from the history of Wonju poetry, and the other is that his works were published in only 6 volumes of poetry published by ‘Moonji Publishing’. He is a poet who sang the local sentiments of Wonju in the central literary world while simultaneously writing and researching. The memories of childhood expressed in Jang Young-su's series of poems, “Chiak Mountain,” are filled with dark, gloomy light. At times, the speaker's wishes are revealed through the heard cries of the vulture and the chickadee, and at other times, it appears as a purified space of new birth as he hears the story of meeting his mother who ran away from home only after 30 years. Afterwards, the concrete object called “Chiak Mountain” changed to “hometown” and became an abstract language. Early on, his poetry attracted the attention of the literary world for its significant punctuation marks. Afterwards, he was unable to satisfactorily demonstrate his will and passion for creation and academics. However, he is a poet who tried to feel the tension as much as possible in the relationship between everyday language and poetic language. Therefore, I turn every moment I realize in my daily life into a work of poetry. In particular, the boundary between poetry and prose feels vague in works with a confessional tone, but his creation continues.

Seni Menyampaikan Perasaan Melalui Lagu Berjudul "Sang Bayu" Karya Hariyadi

This study explores the lyrics and creative process behind the song "Sang Bayu" created by Hariyadi . The main focus of the analysis is on the use of language and metaphors in the lyrics that depict the theme of love and romance. The lyrics of this song contain deep expressions of love and use metaphors such as "blowing the wind of love" to express soft and calming feelings. The main theme raised is love and romance, where the lyrics display soft and affectionate feelings. The melody that supports the lyrics also strengthens the romantic and calming atmosphere. This study also includes an interview with Hariyadi, who explains the process of creating this song through musical reflection and experimentation, as well as expressing personal inspiration from the beauty of nature and true love. This study identifies that the combination of poetic language, symbolism, and flowing lyrical structure provides a strong emotional and aesthetic effect.

The Evolution of the French Chanson During the Renaissance: From the Parisian Chanson to the Pléiade Chansons, and the Air du Cour

The present article traces the evolution and development of the French chanson, focusing on the Parisian chanson and the changes underwent by the genre under the influence of the group La Pléiade. One of the most important contributions France has made to the music of the Renaissance, the chanson embodies the endeavors that guided French artists of the Renaissance to prove that the French language possessed all the necessary qualities for becoming a poetic language. Relinquishing the sobriety of the Franco-Flemish school, Renaissance composers turned to a simpler, more melodious expression in their works, striving to place the text at the forefront. The 1520’s witnessed the emergence of a new type of chanson, generally known as the Parisian chanson, with its lyrical and narrative versions, exemplified by the works of such composers as Claudin de Sermisy or Clément Janequin. From the complex polyphonic works, composers turned to more transparent textures, characterized by homorhythm and homophony. The chanson was also influenced by the ideals proposed by the Pléiade group, which placed poetry at the forefront, the music following the metric and rhythmic patterns of the declamation – a practice that became known as musique mesurée and was represented by the works of Claude Le Jeune. Finally, the end of the 16th century brought about the gradual replacement of the genre with the air du cour, which would gain popularity in the 17th century. Nonetheless, the particularities of the musique mesurée would have a great influence on declamation and the importance of the accents in song – concepts that lies at the core of French vocal music of the following centuries. The analysis proposed by the authors presents pieces that are representative for the evolution of the genre, striving to reveal the particularities of each period in the development of the chanson. Keywords: chanson, French, Renaissance, La Pléiade, musique mesurée