This article examines the meaning of the word ‘vile’ by investigating how it is opposed to what is ‘precious’. The ‘precious’/’vile’ contrast dates back at least as far as early translations of Jeremiah, and resurfaces in Augustine’s reading of Genesis in the Confessions, and this may explain its presence in early modern French culture. But another powerful source is Petrarch’s Canzone 129, a rewrite of Canzone 35, which similarly probingly analyses solitary consciousness. Canzone 129 internalizes the contrast of ‘precious’ with ‘vile’ as a way of scrutinizing individual goodness after the Fall. The article sees how this operates within the poem’s wider thematic networks of desire and hallucination: the face of the beloved Laura is seen everywhere in the natural landscape. It then examines the poems by Ronsard that have been most clearly and explicitly influenced by Canzone 129 (and 35), namely Cassandre 28 and 126, Nouvelle continuation 35, and Helene 19. The homophonic word ‘ville’ in the last poem is seen as a kind of etymological and semantic bridge, looking back by silently echoing Petrarchan nuance of interiorized guilt and desire, and looking forward to the word’s urban connotation — vilain as town-dweller — noted by Cotgrave.

中文翻译：

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珍贵与邪恶：伦萨德的宗主教主义诗学中的自然风趣幻觉

本文通过调查“邪恶”一词与“珍贵”一词的对立方式来研究其含义。“珍贵” /“卑鄙”的对比至少可以追溯到耶利米的早期译本，并且在奥古斯丁的《悔录》中对《创世纪》的阅读中浮出水面，这也许可以解释其在法国近代早期文化中的存在。但是另一个强大的来源是Petrarch的Canzone 129，它是对Canzone 35的重写，它类似地探测孤独感。Canzone 129将“珍贵”与“卑鄙”的对比内在化，作为审视秋天后个人善良的一种方式。文章了解了这是如何在诗歌的欲望和幻觉主题网络中发挥作用的：在自然景观中随处可见心爱的劳拉的面孔。