Clemont Marot, the son of a petty burgess of Cahors, named John Marot, himself a poet in a small way, who had lived some time at the court of Louis XII., under the patronage of Queen Anne of Bretagne, had a right to style himself, “well born and nobly bred;” many of the petty burgesses of Cahors were of noble origin, and derived therefrom certain privileges; John Marot, by a frugal and regular life, had acquired and left to his son two estates in the neighborhood of Cahors, where, no doubt, Clement resided but little, for he lived almost constantly at the court, or wandering about Europe, in every place where at one time the fortunes of the king his protector and at another the storm of the nascent religious reform left him stranded willy-nilly. He was present in 1525 at the battle of Pavia, where he was wounded and taken prisoner with his king, but soon released, since the Imperialists let go on easy terms gentlemen of whom it was impossible to make a rich booty. From that time we do not meet any more with Clement Marot in war or politics; to Marguerite de Valois, to adventures of gallantry, and to success in his mundane line of poesy his life was thenceforth devoted. The scandal of history has often been directed against his relations with his royal patroness; but there seems to be no real foundation for such a suspicion; the manners of the sixteenth century admitted of intimacies in language, and sometimes even of familiarities in procedure, contrasting strangely with demonstrations of the greatest respect, nay, humility. Clement Marot was the king of poesy and set the fashion of wit in his time; Marguerite had a generous and a lively sympathy with wit, talent, success, renown; the princess and the poet were mutually pleased with and flattered one another; and the liberties allowed to sympathy and flattery were great at that time, but far less significant than they would be in our day.

What were the cause, the degree, and the real value of this success and this renown of which Clement Marot made so much parade, and for which his contemporaries gave him credit? What change, what progress effected by him, during his lifetime, in French literature and the French language won for him the place he obtained and still holds in the opinion of the learned?

A poet who no more than Clement Marot produced any great poetical work, and was very different from him in their small way, Francis Villon, in fact, preceded him by about three quarters of a century. The most distinguished amongst the literary critics of our time have discussed the question as to which of the two, Villon or Marot, should be regarded as the last poet of the middle ages and the first of modern France. M. Sainte-Beuve, without attempting to precisely solve that little problem, has distinguished and characterized the two poets with so much of truth and tact that there can be no hesitation about borrowing his words: “Was Villon,” is the question he puts to himself, “an originator? Did he create a style of poesy? Had he any idea of a literary reaction, as we should say nowadays? What is quite certain is, that he possessed original talent; that amidst all the execrable tricks wherein he delighted and wherein he was a master, he possessed the sacred spark. . . . A licentious scamp of a student, bred at some shop in the Cite or the Place Maubert, he has a tone which, at least as much as that of Regnier, has a savor of the places the author frequented. The beauties whom he celebrates—and I blush for him—are none else than la blanche Savetiere (the fair cobbleress), or la gente Saul cissiere, du coin (the pretty Sausage girl at the corner). But he has invented for some of those natural regrets which incessantly recur in respect of vanished beauty and the flight of years a form of expression, truthful, charming, and airy, which goes on singing forever in the heart and ear of whosoever has once heard it. He has flashes, nothing more than flashes, of melancholy. . . . It is in reading the verses of Clement Marot that we have, for the first time as it seems to me, a very clear and distinct feeling of having got out from the circumbendibus of the old language, from the Gallic tangle. We are now in France, in the land and amidst the language of France, in the region of genuine French wit, no longer that of the boor, or of the student, or of the burgess, but of the court and good society. Good society, in poesy, was born with Marot, with Francis I., and his sister Marguerite, with the Renaissance: much will still have to be done to bring it to perfection, but it exists and will never cease again. . . . Marot, a poet of wits rather than of genius or of great talent, but full of grace and breeding, who has no passion, but is not devoid of sensibility, has a way of his own of telling and saying things; he has a turn of his own; he is, in a word, the agreeable man, the gentleman-like man, who is bound to be pleasant and amusing, and who discharges his duty with an easy air and unexceptionable gallantry.”

There we have exactly the new character which Marot, coming between Villon and Ronsard, gave in the sixteenth century to French poesy. We may be more exacting than M. Sainte-Beuve; we may regret that Marot, whilst rescuing it from the streets, confined it too much to the court; the natural and national range of poesy is higher and more extensive than that; the Hundred Years’ War and Joan of Arc had higher claims. But it is something to have delivered poesy from coarse vulgarity, and introduced refinement into it. Clement Marot rendered to the French language, then in labor of progression, and, one might say, of formation, eminent service: he gave it a naturalness, a clearness, an easy swing, and, for the most part, a correctness which it had hitherto lacked. It was reserved for other writers, in verse and prose, to give it boldness, the richness that comes of precision, elevation, and grandeur.

In 1534, amidst the first violent tempest of reform in France, Clement Marot, accused of heresy, prudently withdrew and went to seek an asylum at Ferrara, under the protection of the duchess, Renee of France, daughter of Louis XII. He there met Calvin, who already held a high position amongst the Reformers, and who was then engaged on a translation of the Psalms in verse. The reformer talked to the poet about this grand Hebrew poesy, which, according to M. Villemain’s impression, “has defrayed in sublime coin the demands of human imagination.” Marot, on returning to France, found the College Royal recently instituted there, and the learned Vatable [Francis Watebled, born at Gamaches, in Picardy, died at Paris in 1547] teaching Hebrew with a great attendance of pupils and of the curious. The professor engaged the poet to translate the Psalms, he himself expounding them to him word by word. Marot translated thirty of them, and dedicated them to Francis I., who not only accepted the dedication, but recommended the work and the author to Charles V., who was at that time making a friendly passage through France on his way to put down the insurrection at Ghent. “Charles V. accepted the said translation graciously” [as appears by a letter in 1559 to Catherine de’ Medici from Villemadon, one of Marguerite of Navarre’s confidential servants], “commended it both by words and by a present of two hundred doubloons, which he made to Marot, thus giving him courage to translate the rest of the Psalms, and praying him to send him as soon as possible the Psalm Confitemini Domino, quoniam bonus [Trust in the Lord, for He is good], so fond was he of it.” Singular fellow-feeling between Charles V. and his great adversary Luther, who said of that same psalm, “It is my friend; it has saved me in many a strait from which emperor, kings, sages, nor saints could have delivered me!” Clement Marot, thus aided and encouraged in this work which gave pleasure to Francis I. and Charles V., and must have been still more interesting to Calvin and Luther, prosecuted his work and published in 1541 the first thirty psalms; three years afterwards, in 1543, he added twenty others, and dedicated the collection “to the ladies of France,” in an epistle wherein the following verses occur:

“Happy the man whose favored ear
In golden days to come shall hear
The ploughman, as he tills the ground,
The tarter, as he drives his round,
The shopman, as his task he plies,
With psalms or sacred melodies
Whiling the hours of toil away!
O, happy he who hears the lay
Of shepherd and of shepherdess,
As in the woods they sing and bless,
And make the rocks and pools proclaim
With them their great Creator’s name!
O, can ye brook that God invite
Them before you to such delight?
Begin, ladies, begin! . . .”

A century after Marot’s time, in 1649, a pious and learned Catholic, Godeau, Bishop of Grasse and member of the nascent French Academy, was in his turn translating the Psalms, and rendered full justice to the labors of the poet, his predecessor, and to the piety of the Reformers, in the following terms “Those whose separation from the church we deplore have rendered the version they make use of famous by the pleasing airs that learned musicians set them to when they were composed. To know them by heart is, amongst them, a sign of the communion to which they belong, and in the towns in which they are most numerous the airs may be heard coming from the mouths of artisans, and in the country from those of tillers.”

In 1555, eight years after the death of Francis I., Estienne Pasquier wrote to Ronsard, “In good faith, there was never seen in France such a glut of poets. I fear that in the long run people will weary of them. But it is a vice peculiar to us that as soon as we see anything succeeding prosperously for any one, everybody wants to join in.” Estienne Pasquier’s fear was much better grounded after the death of Francis I., and when Ronsard had become the head of the poet-world, than it would have been in the first half of the sixteenth century. During the reign of Francis I. and after the date of Clement Marot, there is no poet of any celebrity to speak of, unless we except Francis I. himself and his sister Marguerite; and it is only in compliment to royalty’s name that they need be spoken of. They, both of them, had evidently a mania for versifying, even in their most confidential communications, for many of their letters to one another, those during the captivity of Francis I. at Madrid amongst the rest, are written in verse; but their verses are devoid of poesy; they are prose, often long-winded and frigid, and sometimes painfully labored. There is, however, a distinction to be made between the two correspondents. In the letters and verses of Marguerite there is seen gleaming forth here and there a sentiment of truth and tenderness, a free and graceful play of fancy. We have three collections of her writings: 1. her Heptameron, ou les Sept Journees de la Reine de Navarre, a collection of sixty-eight tales more or less gallant, published for the first time in 1558, without any author’s name; 2. her OEuvres poetiques, which appeared at Lyons in 1547 and 1548, in consequence of her being alive, under the title of Les Marguerites de la Marguerite des Princesses (the Pearls of the Pearl of Princesses), and of which one of her grooms of the chamber was editor; in addition to which there is a volume of Poesies inedites, collected by order of Marguerite herself, but written by the hand of her secretary John Frotte, and preserved at Paris amongst the manuscripts of the Bibliotheque nationale; 3. the Collection of her Letters, published in 1841, by M. F. Genin. This last collection is, morally as well as historically, the most interesting of the three. As for Francis I. himself, there is little, if anything, known of his posies beyond those which have been inserted in the Documents relatifs a sa Captivite a Madrid, published in 1847 by M. Champollion-Figeac; some have an historical value, either as regards public events or Francis I.‘s relations towards his mother, his sister, and his mistresses; the most important is a long account of his campaign, in 1525, in Italy, and of the battle of Pavia; but the king’s verses have even less poetical merit than his sister’s.

Francis I.‘s good will did more for learned and classical literature than for poesy. Attention has already been drawn to the names of the principal masters in the great learned and critical school which devoted itself, in this reign, to the historical, chronological, philological, biographical, and literary study of Greek and Roman antiquity, both Pagan and Christian. It is to the labors of this school and to their results that the word Renaissance is justly applied, and that the honor is especially to be referred of the great intellectual progress made in the sixteenth century. Francis I. contributed to this progress, first by the intelligent sympathy he testified towards learned men of letters, and afterwards by the foundation of the College Royal, an establishment of a special, an elevated, and an independent sort, where professors found a liberty protected against the routine, jealousy, and sometimes intolerance of the University of Paris and the Sorbonne. The king and his sister Marguerite often went to pay a visit, at his printing-place in St. Jean de Beauvais Street, to Robert Estienne (Stephanus), the most celebrated amongst that family of printer-publishers who had so much to do with the resurrection of ancient literature. It is said that one day the king waited a while in the work-room, so as not to disturb Robert Estienne in the correction of a proof.