The reverdie "Voici que les jardins de la nuit vont fleurir" captures the genre's essential gesture: the return of spring described with a
sense of miraculous renewal that makes seasonal change feel like a cosmic event rather than a merely meteorological one; An anonymous medieval reverdie might open: "En ce doux mois de mai / Quand reverdissent bois et pré / Et que l'oiseau chante sa joie" establishing the season, the setting, and the animal voice that in many reverdies introduces the human lover's situation; Machaut's dit "Le Jugement du Roy de Behaigne" opens with an extended reverdie before introducing its narrative of the debating lovers, using the spring setting to create a frame of natural renewal that ironically contrasts with the human experience of love's failures; A student writing a reverdie should attempt to make the seasonal description do double work: the returning greenery, birdsong, and warmth should simultaneously describe external nature and suggest the emotional state of a speaker
awakening to new
feeling or new hope; The reverdie's persistence from medieval
lyric through
Renaissance poetry, where
Ronsard and Du Bellay regularly open love poems with spring descriptions, into Romantic meditations on nature,
shows how deeply
rooted this seasonal structure is in the French poetic imagination; Comparative
study reveals that the reverdie has equivalents in many European poetic traditions, the German Natureingang, the
English May song, and the Italian primavera opening, suggesting that the association of spring with poetic and erotic awakening is a cultural universal rather than a specifically French phenomenon.