The classical hierarchy of poetic genres, from the epic at the summit through tragedy, comedy, and
lyric, down to pastoral and
epigram at the base, organized all French
Renaissance and classical poetic production around a vertical scale of prestige and formal requirement; Du Bellay's "Défense et Illustration de la langue française" constitutes a manifesto of genre theory, arguing that French poets should practice the highest genres, epic, tragedy, and lyric ode, rather than the native medieval genres like the
ballade and rondeau that he dismisses as trivial; Boileau's "Art poétique" codifies the classical system of genres in rhyming couplets, providing prescriptions for each major genre from epic and tragedy to satire and epigram, establishing a normative framework that dominated French poetry for two centuries; A student studying genres poétiques should construct
a table comparing the defining features of six or seven major genres, examining how each is defined by its subject
matter, its tone, its formal requirements, and its social function and occasion; The destabilization of the genre hierarchy by Romanticism, when Hugo declared in the preface to Cromwell that all genres were equally legitimate and the
grotesque had the same rights as the sublime, represents one of the most consequential theoretical interventions in French literary history; Modern poetry's resistance to genre categorization, visible in the difficulty of classifying texts by Michaux, Ponge, or Deguy
within traditional generic frameworks, itself reflects a theoretical position about creativity, freedom, and the exhaustion of inherited formal categories.