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If we look at the groups of four presented by Ripa: the elements, the seasons, the parts of the world, the ages, the winds, the fortunes, among other, one assembly offers a clear correspondence with the four gods of Psiché’s ballet: The Four Poems. Because they are presented together, the four gods embody a much larger concept: they are, in Quinault’s text, the expression of the four Forms of Poetry: Lyric Poetry is represented by Apollon, Pastoral Poetry by Bacchus, Satiric Poetry by Momus, and Epic Poetry by Mars. The figures illustrating the four types of Poetry engraved by Jacques de Bie (1581–1640) for the first French edition of 1643 – the edition most likely used in France in 167163 _{– share many attributes with the} designs of Gissey and clarify the identities of the four deities chosen by Quinault for Psiché’s ballet64 _{as seen on Figure 12.}

The phylactery which each character is holding helps clarify his identity. Their mottos, inscribed on speech scrolls, enhance this ancient convention and had a double relevance, historical and symbolic. The historical elements come from the texts of antiquity, which were

62 _{This hunting spear may have initially been a shepherd’s crook as the paper of this design has been cut to fit} the silhouette.

63 _{The French edition of 1643 indicated on the title page that Ripa’s system was « necessaire à toutes sortes} d’esprits, et particulièrement pour ceux qui aspirant à être, ou ceux qui sont en effet, Orateurs, Poëtes,

Sculpteurs, Peintres, Ingenieurs, Autheurs de Médailles, de Devises, de Ballets, et de Poëmes dramatiques ». See: Guillerm, Jean-Pierre. “Introduction” in [Ripa, Cesare]. Iconologie, ou les principales choses qui peuvent tomber dans la pensée touchant les Vices et les Vertus, sont représentées sous diverses figures, gravées en cuivre par Jacques de Bie, et moralement expliquées par J. Baudouin. Gravures de Jacques de Bie. Textes par Jacques Baudouin. [Paris], MDCXXXXIII, 1643. Facsimile Paris: Aux Amateurs de Livres, 1987.

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originally written on scrolls, many of them in the same Latin being used for mottos (because the idea linking words must be short to be quickly readable). The symbolic relevance is clear, as poetry could be written as much as sung. The banderole held by the Poème Lyrique which reads « Brevi complector singula cantu » could be translated as « I tell of the unique in a short song », or as the French understood it: « In a few words I enclose all things ». The figure of the Pastoral Poetry says « Pastorum carmina ludo »: I play shepherds’ songs. In Psiché’s final Ballet, Aegipans and Maenads are grouped around Bacchus and Silene; ever since Ovid’s

Metamorphoses, the two gods had been associated with Pastoral settings. The motto of Heroic Poetry, crowned with laurels symbolizing military victory, is « Non nisi grandia canto », meaning: I sing only of great things. Words like « cantu », « canto » or « carmina » present in these mottos are a clear common active denominatorencapsulating the expressive function of poetry. The last figure, which is the one of the Satiric Poetry, holds a banderole inscribed « Irridens cuspide figo »: through ridicule I wound with prickings65_.

The familiarity of Quinault with these types of mottos is a matter of historical record. Although he came from a simple social background, we know now that Quinault had received a full literary education, notably in Latin66_{. In the early 1680s Quinault composed some} « Devises » for the Royal Treasury67_{; at the end of his life, Quinault created the mottos intended} for the Dauphine, Anne-Marie Christine Victoire de Bavière (1660–1690), a prestigious responsibility68_{. But the question remains: although these speech scrolls are not visible in the} costume designs of Gissey, were they somehow included in the show, carried by followers? It is more than likely: the statement of expense done in 1671 for Psiché specifies that some mottos were painted for the performance. Georges de Tourny, painter, was paid 210 livres for « peinture des devises, des drapeaux et banderolles »69_{. Aside from the flags for the four dancers,} « Guerriers avec des Drapeaux » who accompany Mars, the « devises » (mottos) may have been presented on stage either by the god himself on one the « banderolles » or painted on the « rendaches » (shields) that four of his followers were holding, as was the custom during tournaments70_.

65 _{Jacques Baudouin translates the motto of the Poème lyrique: « en peu de mots je comprends toute chose ».} Baudouin uses « comprendre » with the meaning of « to contain » not « to understand ». Poeme Pastoral: « avec cette devise, Pastorum carmina ludo. Comme s’il disoit, Je m’entretiens des chansons des Bergers ». Poème Héroïque: « Non nisi grandiae canto, qui signifient Mon chant a pour objet les choses les plus grandes. » Poème Satyrique: « Comme s’il vouloit dire à peu prés, je raille & picque tout ensemble ». See: [Ripa, Cesare].

Iconologie… Textes par Jacques Baudouin. Seconde partie. Paris : 1643, pp. 77–79.

66 _{La Gorce, Jérôme de. “Un proche collaborateur de Lully, Philippe Quinault” in Société d’Étude du XVIIe Siècle}

n°161. Paris: Société d’étude du XVIIe siècle et du C.N.L., du C.N.R.S. et de la Ville de Paris, 1988, pp. 365– 370.

67 _{See: Gros, Étienne. Philippe Quinault, sa vie et son œuvre. Paris: Champion, 1926. Facsimile Genève: Slatkine} Reprints, 1970, pp. 11 & 175.

68 _{See: Palaprat, Jean de. “Lettre à M. B. P. M. D. M.” in Les Œuvres de Monsieur de Palaprat…Tome Second. Paris:} Pierre Ribou, 1712, p. 184.

69 _{See: « État officiel de la dépense faite pour représenter Psyché en 1671 », submitted by Louis-Marie d'Aumont} de Rochebaron, « premier gentilhomme de la chambre de Sa Majesté », kept at the British Museum, in: Bougenot, Étienne-Symphorien. “Psyché au Théâtre des Tuileries” in Bulletin historique et philologique du Comité des travaux historiques et scientifiques. Paris: 1891, pp. 71–80.

70 _{For surviving examples of this type of shield, see: Riddarlek och Tornerspel, Sverige - Europa. Katalog} sammanställd av Lena Rangström. Stockholm: Livrustkammaren, 1992, No. 175 p. 162 & No. 198 p. 174.

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Figure 12: « Les Quatre Poemes. », engraving by Jacques de Bie (1581–1640) from [Ripa, Cesare] Iconologie, ou les principales choses qui peuvent tomber dans la pensée touchant les Vices et les Vertus, sont représentées sous diverses figures, gravées

en cuivre par Jacques de Bie, et moralement expliquées par J. Baudouin. [Paris], MDCXXXXIII [1643].

For the designs of the shields of the Carrousel of 1662 see: Castellucio, Stéphane. Les Carrousels en France, du XVIe au XVIIIe siècle. Paris: L’Insulaire - Les Éditions de l’Amateur and Versailles: Bibliothèque Municipale, 2002, pp. 150–169. And for the definition of the « devises », see: Fabre, Antonin. Chapelain et nos deux premières Académies : études littéraires sur le XVIIe siècle / par l’abbé A. Fabre. Paris: Perrin, 1890, pp. 417 & 445.

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From the same statement of expenses, we know that Jean Breton, « armurier », provided shields for 80 livres. A similar thing had been done the previous year, when the royal motto had been painted on trophies for the final intermède of Les Amants magnifiques, to accompany Apollo for his entrée concluding the « Jeux Pythiens »71_.

In Psiché, the three Recits that follow Apollon’s call for unity are undeniably illustrations of the Power of Love, to which Bacchus, Momus and Mars successively declare they have surrendered. In addition to indications of staging and the sung text, the libretto, following the tradition of the Ballet de Cour, includes comments that explain each song of the allegorical celebration. Bacchus « makes it understood that he is not as dangerous as Love »: the effects of wine pass after one day, while Love’s effects last forever. Momus mocks everyone but Love, who « he dares not make fun » of because it is Love « who spares no one ». The final god, Mars, concedes that « he has not been able to avoid surrendering to Love »72_{: Amour alone can} boast of defeating the god of war. Each one presents the inspiration of their entrée to come, telling us not to look at them as they usually are, but through the opposing force that an irresistible Love produces to accomplish poetry. A call from the heavenly gods, wrapping up what is undeniably a kind of introduction, invites the instruments and voices to join the general rejoicing and the Ballet can now line up the successive entrées of Apollon, Bacchus, Momus and Mars.