writing on stones, bodies, and minds

Ronsard seems to conceive (of) and embody the poems in his Amours in two different ways: as organic, living things, and as inorganic, petrified things. Sometimes (as in VI) he is a feminine vessel who gestates and gives birth to his "Amour" or his poem (to what extent do his loves only exist as poems?). But sometimes the poem is framed as written in stone, as in the opening "Vœu," and the poet himself is often turned to rock, or petrified, by Cassandre. How is preservation via a sort of biological reproduction different from preservation in or as inert matter? Does Ronsard privilege one over the other?

It's also interesting to think about when these metaphors get mixed: when mortal beings get "engraved" with (supposedly immortal) writing. In XVI, Ronsard expresses his wish to "enfanter une fleur, / Qui de mon nom & de mon mal soit peinte." The notes say this is an allusion to the hyacinth, whose coloring is said to spell out "AI" in memorium of the pain of Apollo and name of Ajax. An individual flower doesn't live long, and so doesn't seem to be a good medium for writing a lasting message. But what Ronsard wants to "enfanter" is less the single ephemeral flower than the eternal letters printed on it (and that will continue to be printed as the flower propogates itself as a species). This gives us the best of both worlds: the vulnerable delicate flower and the frozen lifeless message in one neat package. What does this suggest about Ronsard's attitude towards printing and publication?

Sometimes, too, it's the soul or heart that get engraved (as in II). Is writing on the immaterial self somehow different from writing on the material external world or on the material individual body? Are the arrows that pelt the poet comparable to pens that set poems into writing? And how much (and with what results) does Ronsard explicitly identify himself with his poems, petrifying himself as he inscribes his poems onto paper?