François de Montcorbier or François Des Loges (c. 1431 – after January 5 , 1463 ) was a French thief, murderer and poet, known to history by the name he adopted, François Villon . His intensely personal poems both celebrate and bitterly deplore...
The French poet François Villon (1431-ca. 1463), the greatest writer of 15th-century France, was the first creative, modern French lyric poet. His work is remarkable for its rare inspiration and sincerity. François Villon, whose real name...
Although his verse gained him little or no financial success during his life, François Villon is today perhaps the best-known French poet of the Middle Ages. His works surfaced in several manuscripts shortly after his disappearance in 1463, and...
PETE CALDERA, STAFF WRITER The Record (Bergen County, NJ) 03-01-2007 Villone to fight for spot -- Bergenfield native on bubble entering the spring By PETE CALDERA, STAFF WRITER Date: 03-01-2007, Thursday Section: SPORTS Edtion: All Editions TAMPA, Fla. — Curiosity finally prompted...
PETE CALDERA, STAFF WRITER The Record (Bergen County, NJ) 05-16-2007 Villone returns to Yanks -- Joins bullpen; Henn sent down By PETE CALDERA, STAFF WRITER Date: 05-16-2007, Wednesday Section: SPORTS Edtion: All Editions CHICAGO — Standing in the visiting clubhouse at U.S....
In this excerpt, Vitz examines patterns of erotic and gustatory metaphors to establish the major contrasts in Villon's work. For Vitz, “contamination” describes the way in which metaphor seems to work by proximity in Villon's poetry, as symbolic connotations seem to seep from one line to the next.
In this essay, the author reviews Romantic, Victorian, and Modernist interpretations of the legend of Villon, arguing that such legends have been detrimental to readings of Villon's most famous poem. With comparisons to Le Roman de la Rose and the genre of hagiography, Uitti demonstrates how Villon illustrates issues of marginality and power in the context of Medieval France.
In this essay, first presented at a conference of Villon scholars in 1996, Regalado argues that instances of misquotation in Villon's work are not errors of memory, but intentional poetic devices. Regalado proposes further that the faux-errors help create the wise-fool persona of the poems' narrators.
