This article proposes an analysis of the clues given in printed collections by their address to a limited public and by the circulation of individual poems prior to publication. We will analyze, from the point of view of reception by successive audiences, the tension between the paradigm of generic reading of the canzoniere and a published work’s inscription in a specific ethical and social context. Two very different avenues of publication are compared—involving, on the one hand, processes rooted in the context of the royal court (Jamyn and Ronsard), and on the other hand, those arising from a spouse’s mourning (Christofle du Pré and Pierre de Brach). These collections, which readapt the discursive framework of Petrarchism and extend the significance of Petrarchan motifs, permit us to discern the competition between the interpretative expectations tied to the genre of the canzoniere and those tied to addressing an appropriate readership.

Researchers should cite this work as follows:

• Triou, C., (2025), "Amours privées, amours publiques, amours publiées ; l’inscription de divers cercles publics dans quelques avatars des canzonieri pétrarquistes des années 1570–1580", HSSCommons: (DOI: )

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1. Renaissance and Reformation

Original publication: Triou, Charlotte. "Amours privées, amours publiques, amours publiées ; l’inscription de divers cercles publics dans quelques avatars des canzonieri pétrarquistes des années 1570–1580." Renaissance and Reformation 42 (1): 2019. 257-282. DOI: 10.7202/1064527ar. This material has been re-published in an unmodified form on the Canadian HSS Commons with the permission of Iter Canada / Renaissance and Reformation. Copyright © the author(s). Their work is distributed by Renaissance and Reformation under a Creative Commons Attribution-NonCommercial 4.0 International License. For details, see https://creativecommons.org/licenses/.