Quelques semaines plus tard, 4 000 envois sont partis par la poste vers des entreprises du monde entier.
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Amid the ordinary gains and losses of the calendar year arrive the vivid envois of the past: a country drugstore, the "kamikaze Fiats" of Rome, a statue of Dante under alpine snow.
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Later writers such as William Meredith and Meg Bateman have also written envois of this kind. The envoi is also often written as a postscript or farewell from the poet as they face death, even if that death might be some distance away. Poets who have written envois in this style include Rudyard Kipling, Willa Cather, James McAuley, the suffragist Emily Davison , and Wyn Griffith.
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When she met Jacques Derrida at a symposium and he asked her name, she introduced herself as "Metaphysics", and he later wrote that he "found this little game rather clever."Benoît Peeters, Derrida: A Biography, pg. 308, translated by Andrew Brown, Polity Press, 2013, Jacques Derrida, "Envois," The Post Card: From Socrates to Freud and Beyond, pg.
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In 1803 Napoleon Bonaparte moved it to the Villa Medici, with the intention of perpetuating an institution once threatened by the French Revolution and, thus, of retaining for young French artists the opportunity to see and copy the masterpieces of the Antiquity or the Renaissance and send back to Paris their "envois de Rome", the results of the inspiration they had gained in Rome. These "envois" were annual works, sent to Paris to be judged, and were a compulsory requirement for all the pensionaries. Portrait of Prix de Rome winner and fellow student Merry-Joseph Blondel in front of the Villa Medici in 1809, by Ingres At first, the villa and its gardens were in a sad state and had to be renovated to house the winners of the Prix de Rome.
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The envoi is relatively fluid in form. In ballades and chant royal, envois have fewer lines than the main stanzas of the poem. They may also repeat the rhyme words or sounds used in the main body of the poem, or even whole lines. The envoi can also be a short lyric poem of any form, usually placed at the end of a poetry collection.
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His use, however, is less innovative than that of de Pizan or d'Orléans. Froissart's envois are invariably addressed to the Prince and are used to summarise the content of the preceding stanzas. Since the 14th century, the envoi has been seen as an integral part of a number of traditional poetic forms, including, in addition to the ballade and chant royal, the virelai nouveau and the sestina.
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The pastoreta, afterwards pastorela, is in general an account of the love adventures of a knight with a shepherdess. All these classes have one form capable of endless variations: five or more stanzas and one or two envois. The dansa and balada, intended to mark the time in dancing, are pieces with a refrain. The aubade, which has also a refrain, is, as the name indicates, a waking or morning song at the dawning of the day.
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Beaux-Arts training emphasized the production of quick conceptual sketches, highly finished perspective presentation drawings, close attention to the program, and knowledgeable detailing. Site considerations included the social and urban context. All architects-in-training passed through the obligatory stages—studying antique models, constructing , analyses reproducing Greek or Roman models, "pocket" studies and other conventional steps—in the long competition for the few desirable places at the Académie de France à Rome (housed in the Villa Medici) with traditional requirements of sending at intervals the presentation drawings called envois de Rome.
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The canso usually ends with one or more envois (called Tornadas in Old Occitan). It takes the form of a shortened stanza, containing only a last part of the standard stanza used up to that point; a clear example is the same work by Arnaut Daniel quoted above: the (single) envoi is: Fez es l'acrotz: qu'el cor remir totz sers lieis cui dompnei, ses parsonier Arnaut, qu'en autr'albir n'esfort m'entent'a soma. whose syllable count (4, 4, 2, 4, 6, 4, 6) is the same as the last seven lines of the full stanzas.
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The following year he exhibited his baigneuses, the first in a series of large- format nudes sent to the Salon up to 1943. Following a long tradition developed by Courbet, Vivrel used the timeless bather theme as a pretext for revelling in painting the female body, almost invariably in a riparian setting. The bathers subject had remained topical and worthily represented at the Salon since the early 20th century by the envois of Émile René Menard, Paul Chabas and Maurice Denis. In Jeunesse (Youth), his submission to the 1936 Salon, Vivrel somewhat humorously captures the modesty of a teenage girl awkwardly using a straw hat to cover her nudity.
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Lapeyre’s early envois to the Salon were eclectic. Alongside paintings of picturesque and Orientalist subjects, such as Avant le bal, a work perfectly in harmony with the canons of the Belle Époque, at the 1912 Salon he exhibited Les femmes de Sparte à Aeglia, an ambitious history painting that revived grand mythological themes. Between these two extremes, Lapeyre exhibited genre scenes depicting the leisure pursuits of Parisian high society – a boxing match in the Salle Wagram, and the Saint-Cloud racetrack. His elegant Portrait d’Anna de Noailles aux courses illustrates his twofold talent as a portraitist and chronicler of society life – qualities shared by other exhibitors such as Jean Béraud and Henri Gervex.
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Suffering from a painful disease of syphilitic origin, the tabes dorsalis, he overcame his physical miseries to concentrate on his work. Adolphe was primarily engaged in the critical edition of the satiric, libertine and gallant poets and writers, but also addressed, through a series of regional anthologies, oral folklore of the French provinces, in collaboration with Arnold van Gennep. He also played an important role by the publisher Georges Crès in the collection "Maîtres du livre" in which he published critical editions of Verlaine, Baudelaire, Ronsard and Rousseau. He helped Léon Bloy publish Le Désespéré ("Despairing").Éric Walbecq, « Les envois de Léon Bloy sur le Désespéré », Histoires Littéraires, #1, 2000, (p. 40–53).
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The École nationale supérieure des beaux-arts in Paris is the original of a series of Écoles des beaux-arts in French regional centers. Since its founding in 1648, the Académie royale de peinture et de sculpture has had a school, France's elite institution of instruction in the arts. Its program was structured around a series of anonymous competitions that culminated in the grand prix de l'Académie Royale, more familiar as the Grand Prix de Rome, for its winner was awarded a bourse and a place at the French Academy in Rome. During his stay in Rome, a pensionnaire was expected to send regular envois of his developing work back to Paris.
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In English, poems with envoi have been written by poets as diverse as Austin Dobson, Algernon Charles Swinburne and Ezra Pound. G. K. Chesterton and Hilaire Belloc went through a period of adding envois to their humorous and satirical poems. Using an envoi as a 'sending-out' poem was already quite typical by the eighteenth and nineteenth century, with poets like Henry Longfellow using the form in the 1890s, and Johann Wolfgang von Goethe writing his 'L'envoi' which he addressed to the reader. Ezra Pound's 'Envoi' to his longer poem Hugh Selwyn Mauberley (1920) begins "Go, dumb-born book", and thus explicitly gives the 'Envoi' title to the long-standing genre of writing a farewell poem addressed to the book of poems itself, previously used for example by Edmund Spenser in The Shepheardes Calender (1579) or Anne Bradstreet in 'The Author to Her Book' (1650s).
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