It has been said that Malherbe's poetical work is by no means voluminous: a small volume of two hundred pages, not very closely or minutely printed, contains it all; and ingenious persons have calculated that as a rule he did not write more than four or five verses a month. Nor even of this carefully produced, and still more carefully weeded, result is there much that can be read with pleasure by a modern student of poetry. The verse by which Malherbe is best known,
Et, rose, elle a vécu ce que vivent les roses,
is worth all the rest of his work, and it can hardly be said to be more than a very graceful and touching conceit. But Malherbe's position in the history of French poetry is a very important one. He deliberately assumed the functions of a reformer of literature; and whatever may be thought of the result of his reforms, their durability and the almost entire acquiescence with which they were received prove that there must have been something in them remarkably germane to the spirit and taste and genius of the nation. His first attempt was the overthrow of the Pléiade. He ridiculed their phraseology, frowned on their metres, and, being himself destitute of the romantic inspiration which had animated them, set himself to reduce poetry to carefully-worded metrical prose. The story is always told of him that he went minutely through a copy of Ronsard, striking out whatever he disapproved of; and when some one pointed out the mass of lines that were left, that he drew his pen (presumably across the title-page, for it is not obvious how else he could have done it) through the rest at one stroke. The insolent folly of this is glaring enough, for Malherbe is not worthy as a poet to unloose the shoe-latchet of Ronsard. But the critic had rightly appreciated his time. The tendency of the French seventeenth century in poetry proper was towards the restriction of vocabulary and rhythm, the avoidance of original and daring metaphor and suggestion, the perfecting of a few metres (with the Alexandrine at their head) into a delicate but monotonous harmony, and the rejection of individual licence in favour of rigid rule. The influence of Boileau came rapidly to second that of Malherbe, and the result is that not a single poet—the dramatists are here excluded—of the seventeenth century in France deserves more than fair second-class rank. La Fontaine, indeed, was a writer of the greatest genius, but, though the form which his work takes is metrical, the highest merits of poetry proper are absent. La Fontaine, too, was himself, though an admirer of Malherbe, a rebel to the Malherbe tradition, and delighted both in reading and imitating the work of the Renaissance and the middle ages. But he is always clear, precise, and matter-of-fact in the midst of fancy, never attaining to the peculiar vague suggestiveness which constitutes the charm of poetry proper.
The School of Malherbe.
Vers de Société.
Voiture.
It was, however, impossible that so large a change should accomplish itself at once, and signs of mixed influences appear accordingly in all the poetical work of the first half of the century. Cardinal du Perron, Malherbe's introducer at court, was himself a poet of merit, but rather in the Pléiade style. His Temple de l'Inconstance, though rougher in form, is more poetical in substance than anything, save a very few pieces, of Malherbe's. Chassignet displayed some of the same characteristics with a graver and more elegiac spirit. Gombaud is chiefly remarkable as a sonneteer. The two most famous of the actual pupils of Malherbe were Maynard and Racan. Maynard was a diplomatist and lawyer of rank, who was born at Toulouse in 1582, and died in 1646. His work is miscellaneous, and not very extensive, but it shows that he had learned the secret of polished versification from Malherbe, and that he was able to apply it with a good deal of vigour and of variety. Honorat de Bueil, Marquis de Racan[225], was the author of a pastoral drama, Les Bergeries, founded on, or imitated from, the Astrée of D'Urfé, of an elaborate version of the Psalms, and of a considerable number of the miscellaneous poems, stances, odes, épitres, etc., which were fashionable. Racan, though his amiable private character and the compliance of his principal work with a fashionable folly of the time have caused him to be somewhat over-estimated traditionally, was a thoroughly pleasing poet, with a great command of fluent and melodious verse, a genuine love of nature, and occasionally a power of producing poetry of a true kind which was shared by few of his contemporaries. The remarkable author of Tyr et Sidon, Jean de Schélandre, produced, besides his play, a considerable number of miscellaneous poems; but he was a thorough reactionary, avowed his contempt of Malherbe, and studied, not without success, Ronsard and his own coreligionist Du Bartas as models. One of the most original, though at the same time one of the most unequal poets of the early seventeenth century, was Théophile de Viaud, often called Théophile[226] simply. He, too, was a dramatist, but his dramas do not do him much credit, their style being exaggerated and 'precious.' On the other hand, his miscellaneous poems, though very unequal, include much work of remarkable beauty. The pieces entitled 'La Solitude,' 'Sur une Tempête,' and the stanzas beginning 'Quand tu me vois baiser tes bras,' have all the fervour and picturesqueness of the Pléiade without its occasional blemishes of pedantic expression. Théophile was a loose liver and an unfortunate man. He was accused, justly or unjustly, of writing indecent verses, was imprisoned, and died young. All the poets hitherto mentioned were writers of miscellaneous verse, who, except in so far as they held to the elder tradition of Ronsard or the new gospel of Malherbe, can hardly be said to have belonged to any school. Towards the middle of the century, however, two well-defined fashions of poetry, with some minor ones, distinguished themselves. There was, in the first place, the school of the coterie poets, who devoted themselves to producing vers de société, either for the ladies, or for the great men of the period. The chief of this school was beyond all question Voiture[227]. This admirable writer of prose and verse published absolutely nothing during his lifetime, though his work was in private the delight of the salons. That it should be, under the circumstances, somewhat frivolous is almost unavoidable. But, especially after the cessation of the great flow of inspiration which had characterised the sixteenth century, it was of no small importance that the art of perfect expression should be cultivated in French. Voiture was one of those who contributed most to the cultivation of this art. His letters are as correct as those of Balzac, and much less stilted; and of his poetry it is sufficient to say that nothing more charming of the kind has ever been written than the sonnet to Uranie, which stirred up a literary war, or the rondeau 'Ma foi c'est fait de moi.' This last put once more in fashion a beautiful and thoroughly French form, which it had been one of the worst deeds of the Pléiade to make unfashionable. The chief rival of Voiture was Benserade, a much younger man, whose sonnet on Job was held to excel, though it certainly does not, that to Uranie. Benserade was of higher birth and larger fortune than Voiture, and long outlived him. He was a great writer of ballets or masques, and not unfrequently, like Voiture, showed that a true poet underlay the fantastic disguises he put on. Around these two are grouped numerous minor poets of different merit. Boisrobert, the favourite of Richelieu and the companion of Rotrou and Corneille in that minister's band of 'five poets;' Maleville, who in one of the sonnet-tournaments of the time, that of the Belle Matineuse, was supposed to have excelled even Voiture; Colletet, whose poems make him less important in literature than his Lives of the French poets, which unfortunately perished during the Commune before they had been fully printed; Gomberville, more famous as a novelist; Sarrasin, an admirable prose writer, and a clever composer of ballades and other light verse; Godeau, a bishop and a very clever versifier; Blot, who was rather a political than a social rhymer; Marigny, who was also famous for his Mazarinades, but whose satirical power was by no means the only side of his poetical talent; Charleval, whose personal popularity was greater than his literary ability; Maucroix, the friend of La Fontaine; Segrais, an eclogue writer of no small merit; Chapelle, an idle epicurean, who derives most of his fame from the fact of his having been intimate with all the foremost literary men of the time, and from his having composed, in company with Bachaumont, a Voyage in mixed prose and verse, the form of which was long very popular in France and was imitated with especial success by Anthony Hamilton and Voltaire; Pavillon, who deserves a very similar general description, but who gave no such single example of his abilities: all belong to this class.
Epic School. Chapelain.
Side by side with the frivolous school, but in curious contrast with it, there existed a school of ponderous epic writers, the extirpation of which is the best claim of Boileau to the gratitude of posterity. The typical poets of this class are Georges de Scudéry, the author of Alaric, and Chapelain, the author of the Pucelle. Scudéry was a soldier and a man of considerable talent, who lacked nothing but patience and the power of self-criticism to produce really good work. Like his more famous sister, he had invention and literary facility. His plays are not without merit in parts, and his epic of Alaric, amidst astonishing platitudes and extravagances, has occasional good lines. But Chapelain is by far the most remarkable figure of the school. He was bred up to be a poet from his earliest age, and by a stroke of luck, impossible in less anomalous times, he was taken at his own valuation for years. La Pucelle was quoted in manuscript, and anxiously expected for half a short lifetime. It only appeared to be hopelessly damned. There are passages in it of merit, but they are associated with lines which read like designed burlesques. The onslaughts of Boileau have created a kind of reaction in favour of Chapelain with some who disagree with Boileau's poetical principles: but he is not defensible. His odes are indeed tolerable in parts; not so the Pucelle, save, as has been said, in occasional lines. The Clovis of Desmarets de Saint-Sorlin is worse than the Pucelle. On the other hand, the Père le Moyne in his St. Louis, taking apparently Du Bartas as his model, produced work which, if not very readable as a whole, manifests real and very considerable poetical talent. Lastly, Saint Amant in the Moïse Sauvé showed how far below himself a clever writer may be when he mistakes his style.
Bacchanalian School. Saint Amant.