This work examines the relation of individual poems to the book of poetry as a whole in collections of French lyric poetry from the Middle Ages to the 20th century. The contributors address the means by which a body of discrete and self contained poems coalesce into a cohesive unit organized by the poet and not by outside editors or compilers. Although widely divergent in their approaches, the contributors explore how poets resolve the problem of creating a work from a varied poetic production without subordinating the essence of their production, the lyric utterance, to the arrangement that they adopt. Because the essays included here deal with a variety of works from the Middle Ages to the present, historical concepts of order and coherence emerge as essential elements of changing form; poetic collections appear to respond both to earlier forms and to a current sense of order or disorder, continuity or discontinuity.
Guillaume de Machaut's ""Remede de Fortune"" - The Lyric Anthology as Narrative Progression, Kevin Brownlee; From Life to Art - The Lyric Anthology of Villon's ""Testament"", Sylvia Huot; Lyric Sequence as a Condition of Meaning - Various Arrangements of Marot's Poems from ""Certaines oeuvres qu'il feit en la prison"", George Joseph; A Poetic Monument - Arrangement in Book I of Ronsard's 1550 ""Odes"", Doranne Fenoaltes; Order and Affinity in the Seasonal Sonnets of Saint-Amant, Catherine Ingold; Triple Calculus - Notes Toward a Poetic and Rhetoric of La Fontaine's ""Fables"", Book 7, David Lee Rubin; The Two Versions of ""Les Fleurs du mal"" and Ideas of Form, John Porter Houston; ""Herodiade"" - The Bound Book, Sandra Daniel; Apollinaire's ""Alcools"" and the Disorder of Modernity, Suzanne Nash; Bonnefoy's ""Pierre ecrite"" - Progressive Ambiguity as the Many in the One, Sarah Lawall.