Annales de la petite-russie; ou histoire des by Jean-Benoit Scherer

By Jean-Benoit Scherer

Excerpt from Annales de l. a. Petite-Russie, ou Histoire des Cosaques-Saporogues Et des Cosaques de l'Ukraine, ou de los angeles Petite-Russie, Depuis Leur Origine Jusqu'à Nos Jours, Vol. 2: Suivie d'un Abrégé de l'Histoire des Heumans des Cosaques, Et des Pièces Justificatives

Pa'r jeak-bbnoit S C HÉ dû Roi Employe' au Bureau Membre de plufieùr: académies. S'e'nat de Straour ci-(levant Jurÿ'confulte du colle'ge impérial de jujlice saint-pe'tersbourg pour le: aflju'ret de là Livonie j'eflonie G de l. a. Finlande.

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Such ambivalence disintegrates the very object that renovatio Romae seeks to reconstitute. Ruin has acquired a share of what "Rome" means. This entrenchment of fragmentation would complicate any effort to remove it. Admiratio and grandeur nevertheless resurface together in sonnet I3. The "rien de Rome" of sonnet 3 that appeared to discount the wonder of sonnet 2 reconnects in sonnet I3 to a "grandeur" and the wonder that it still generates. The admirer is then asked to modify his wonder in such a way as, Du Bellay predicts, to distract it from renovatio: Juge, en voyant ces ruines si amples, Ce qu'a ronge le temps injurieux, Puis qu'aux ouvriers les plus industrieux Ces vieux fragments encor servent d'exemples.

9I-92)-produces less recollection and more fragmentation, as Rome's marvels overwhelm the poet's powers of description. " (Io9-Io). ), Du Bellay draws the les-­ son of a chastened confidence in material things. The deterioration of Rome's physical aspect ultimately manifests the eternal life of Latin poetry, whose energy Du Bellay requests for a new, French context in a 34 SUBLIMITY AND SKEPTICISM IN MONTAIGNE AND MILTON plea that forms the conclusion of the elegy. Given the final silence about admi--­ ratio in "Romae descriptio," Du Bellay leaves another mixed tnessage con-­ cerning the fate of wonder: has it mutated or just disappeared?

Whereas in sonnet 27, the fall of Rome terminated wonder, in sonnet 29 wonder figures in the aftermath of Rome's demise. This resistant strain of wonder is "profonde" (as Du Bellay says) in more ways than one. In a literal sense wonder descends to a much lower level of the poem (line r2) than it did in sonnet 27 (line r). In going deeper on the page-sonnets 27 and 29 are printed on the upper halves of facing leaves in the first edition of the Antiquitez (rss8)-this wonder also expresses a more profound appreciation of ruin than conventional admiratio.

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