Salmon Maerins Gediehtsammlungen von 1538 bis 1546. Edition mit Wortindex.
* Salmon Maerins Gediehtsammlungen von 1538 bis 1546. Edition mit Wortindex. Edited by Marie-Francoise Schumann. Hamburger Beitrage zur neulateinischen Philologie, 9. Berlin and Munster: LIT, 2013. XX + 507 pp. The book under review is the fourth volume in the series Hamburger Beitrage zur neulateinischen Philologie that focuses on the French Neo-Latin poet Salmon Macrin and the third in which Marie-Francoise Schumann presents an edition of his highly influential poetry collections. In 2011 she edited Macrin's collections published between 1528 and 1534; in 2012, the poems published in 1537. With the present volume, Schumann provides us with the first modern edition of three poetry collections (Latin text only) printed between 1538 and 1546: a collection of Septem Psalmi and Paeanum libri quatuor (1538), Hymnorum seleetorum libri tres (1540), and Odarum libri tres (1546).
As in the previous volumes of 2011 and 2012, the editor gives a very short introduction (5 pages); several paragraphs on the author and the edition have been taken over verbatim from the previous volumes. The three poetry collections fill 272 pages and are followed by an extensive word index (227 pages). In the Septem Psalmi of 1538, Macrin presents the seven penitential psalms in Aeolic verse. The fifty-seven Paeans show a pious character; the poet addresses the Virgin Mary, Christ, the Holy Spirit, and even God himself, but also friends, noblemen such as cardinal Jean du Bellay, and Macrin's wife Gelonis (1,16; 1,17). Besides sacred themes, Macrin treats contemporary events as well: e.g., in Paean 3,8, where he laments the outbreak of the plague in his hometown, Loudun.
The Hymnorum seleetorum libri tres are dedicated to another cardinal, Jean de Lorraine. Several of the eighty hymns are addressed to influential noblemen (e.g., Charles de Valois (1.8), son of King Francis Ier) or to the king himself (1,29). In this poetry collection, Macrin treats sacred themes almost exclusively, especially the Passion of Christ and the Virgin Mary. With Hymn 2,12, he explains why Christian justice outrivals the ideas of all philosophical schools. Imitation and emulation of Horace are implicit in all of Macrin's poetry; in several cases he even makes it explicit in the title of his hymns (1,4; 3,4). In the appendix to book 3 of the Hymns we find two poems of contemporaries addressed to Macrin (A1; A4). The third poetry collection, the udarum libri tres of 1546, begins with a preface to King Francis Ier. With his sixty Odes, Macrin returns to a more secular poetry; they address patrons and friends and discuss secular subjects such as love and marriage (1,16; 3,11) and contemporary events, e.g. the French victory at Carignano against the combined forces of the Holy Roman Empire and Spain (1,14).
As in the previous volumes, Schumann's edition of Salmon Macrin's poetry collections from 1538 to 1546 offers a vast amount of material for further research on this greatly neglected French poet, but, as in the other volumes, the reader might miss a substantial introduction, a commentary, or notes to the text explaining the historical, religious, and literary background. (Johanna Luggin, Ludwig Boltzmann Institut fur neulateinische Studien, Innsbruck, Austria)
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|Article Type:||Book review|
|Date:||Mar 22, 2015|
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