Clément Marot[170] was a man of more mixed race than was usual at this period, when the provincial distinctions were still as a rule maintained with some sharpness. His father, Jean Marot, a poet of merit, was a Norman, but he emigrated to Quercy, and Marot's mother was a native of Cahors, a town which, from its Papal connections, as well as its situation on the borders of Gascony, was specially southern. Clément was born probably at the beginning of 1497, and his father educated him with some pains in things poetical. This, as times went, necessitated an admiration of Crétin and such like persons, and the practice of rondeaux, and of other poetry strict in form and allegorical in matter. As it happened, the discipline was a very sound one for Marot, whose natural bent was far too vigorous and too lithe to be stiffened or stunted by it, while it unquestionably supplied wholesome limitations which preserved him from mere slovenly facility. It is evident, too, that he had a sincere and genuine love of things mediaeval, as his devotion to the Roman de la Rose and to Villon's poems, both of which he edited, sufficiently shows. He 'came into France,' an expression of his own, which shows the fragmentary condition of the kingdom even at this late period, when he was about ten years old. His father held an appointment as 'Escripvain' to Anne of Brittany, and accompanied her husband to Genoa in 1507. The University of Paris, and a short sojourn among the students of law, completed Clément's education, and he then became a page to a nobleman, thus obtaining a position at court or, at least, the chance of one. It is not known when his earliest attempt at following the Crétinic lessons was composed; but in 1514, being then but a stripling, he presented his Jugement de Minos to François de Valois, soon to be king. A translation of the first Eclogue of Virgil had even preceded this. Both poems are well written and versified, but decidedly in the rhétoriqueur style. In 1519, having already received or assumed the title of 'Facteur' (poet) to Queen Claude, he became one of the special adherents of Marguerite d'Angoulême, the famous sister of Francis, from whom, a few years later, we find him in receipt of a pension. He also occupied some post in the household of her husband, the King of Navarre. In 1524 he went to Italy with Francis, was wounded and taken prisoner at Pavia, but returned to France the next year. Marguerite's immediate followers were distinguished, some by their adherence to the principles of the Reformation, others by free thought of a still more unorthodox description, and Marot soon after his return was accused of heresy and lodged in the Châtelet. He was, however, soon transferred to a place of mitigated restraint, and finally set at liberty. About this time his father died. In 1528 he obtained a post and a pension in the King's own household. He was again in difficulties, but again got out of them, and in 1530 he married. But the next year he was once more in danger on the old charge of heresy, and was again rescued from the chats fourrés by Marguerite. He had already edited the Roman de la Rose, but no regular edition of his own work had appeared. In 1533 came out not merely his edition of Villon, but a collection of his own youthful work under the pretty title Adolescence Clémentine. In 1535 the Parliament of Paris for a fourth time molested Marot. Marguerite's influence was now insufficient to protect him, and the poet fled first to Béarn and then to Ferrara. Here, under the protection of Renée de France, he lived and wrote for some time, but the persecution again grew hot. He retired to Venice, but in 1539 obtained permission to return to France. Francis gave him a house in the Faubourg Saint Germain, and here apparently he wrote his famous Psalms, which had an immense popularity; these the Sorbonne condemned, and Marot once more fled, this time to Geneva. He found this place an uncomfortable sojourn, and crossed the Alps into Piedmont, where, not long afterwards, he died in 1544.
Marot's work is sufficiently diverse in form, but the classification of it adopted in the convenient edition of Jannet is perhaps the best, though it neglects chronology. There are some dozen pieces of more or less considerable length, among which may specially be mentioned Le Temple de Cupido, an early work of rhétoriqueur character for the most part, in dizains of ten and eight syllables alternately, a Dialogue of two Lovers, an Eclogue to the King; L'Enfer, a vigorous and picturesque description of his imprisonment in the Châtelet, and some poems bearing a strong Huguenot impression. Then come sixty-five epistles written in couplets for the most part decasyllabic. These include the celebrated Coq-à-l'Âne, a sort of nonsense-verse, with a satirical tendency, which derives from the mediaeval fatrasie, and was very popular and much imitated. Another mediaeval restoration of Marot's, also very popular and also much imitated, was the blason, a description, in octosyllables. Twenty-six elegies likewise adopt the couplet, and show, as do the epistles, remarkable power over that form. Fifteen ballades, twenty-two songs in various metres, eighty-two rondeaux, and forty-two songs for music, contain much of Marot's most beautiful work. His easy graceful style escaped the chief danger of these artificial forms, the danger of stiffness and monotony; while he was able to get out of them as much pathos and melody as any other French poet, except Charles d'Orléans and Villon. Numerous étrennes recall the Xenia of Martial, and funeral poems of various lengths and styles follow. Then we have nearly three hundred epigrams, many of them excellent in point and elegance, a certain number of translations, the Psalms, fifty in number, certain prayers, and two versified renderings of Erasmus' Colloquies.
It will be seen from this enumeration that the majority of Marot's work is what is now called occasional. No single work of his of a greater length than a few hundred lines exists; and, after his first attempts in the allegorical kind, almost all his works were either addressed to particular persons, or based upon some event in his life. Marot was immensely popular in his lifetime; and though after his death a formidable rival arose in Ronsard, the elder poet's fame was sustained by eager disciples. With the discredit of the Pléiade, in consequence of Malherbe's criticisms, Marot's popularity returned in full measure, and for two centuries he was the one French poet before the classical period who was actually read and admired with genuine admiration by others besides professed students of antiquity. Since the great revival of the taste for older literature, which preceded and accompanied the Romantic movement, Marot has scarcely held this pride of place. The Pléiade on the one hand, the purely mediaeval writers on the other, have pushed him from his stool. But sane criticism, which declines to depreciate one thing because it appreciates another, will always have hearty admiration for his urbanity, his genuine wit, his graceful turn of words; and his flashes of pathos and poetry.
It is, as has been said, one of the commonplaces of the subject to speak of Marot as the father of modern French poetry; the phrase is, like all such phrases, inaccurate, but, like most such phrases, it contains a certain amount of truth. To the characteristics of the lighter French poetry, from La Fontaine to Béranger, which has always been more popular both at home and abroad than the more ambitious and serious efforts of French poets, Marot does in some sort stand in a parental relation. He retained the sprightliness and sly fun of the Fabliau-writers, while he softened their crudity of expression, he exchanged clumsiness and horse-play for the play of wit, and he emphasised fully in the language the two characteristics which have never failed to distinguish it since, elegance and urbanity. His style is somewhat pedestrian, though on occasion he can write with exquisite tenderness, and with the most delicate suggestiveness of expression. But as a rule he does not go deep; ease and grace, not passion or lofty flights, are his strong points. Representing, as he did, the reaction from the stiff forms and clumsily classical language of the rhétoriqueurs, it was not likely that he should exhibit the tendency of his own age to classical culture and imitation very strongly. He and his school were thus regarded by their immediate successors of the Pléiade as rustic and uncouth singers, for the most part very unjustly. But still Marot's work was of less general and far-reaching importance than that of Ronsard. He brought out the best aspect of the older French literature, and cleared away some disfiguring encumbrances from it, but he imported nothing new. It would hardly be unjust to say that, given the difference of a century in point of ordinary progress, Charles d'Orléans is Marot's equal in elegance and grace, and his superior in sentiment, while Marot is not comparable to Villon in passion or in humour. His limitation, and at the same time his great merit, was that he was a typical Frenchman. A famous epigram, applied to another person two centuries later, might be applied with very little difficulty or alteration to Marot. He had more than anybody else of his time the literary characteristics which the ordinary literary Frenchman has. We constantly meet in the history of literature this contrast between the men who are simply shining examples of the ordinary type, and men who cross and blend that type with new characters and excellences. Unquestionably the latter are the greater, but the former cannot on any equitable scheme miss their reward. It must be added that the positive merit of much of Marot's work is great, though, as a rule, his longer pieces are very inferior to his shorter. Many of the epigrams are admirable; the Psalms, which have been unjustly depreciated of late years by French critics, have a sober and solemn music, which is almost peculiar to the French devotional poetry of that age; the satirical ballade of Frère Lubin is among the very best things of its kind; while as much may be said of the rondeaux 'Dedans Paris' in the lighter style, and 'En la Baisant' in the graver. Perhaps the famous line—
Un doux nenny avec un doux sourire,
supposed to have been addressed to the Queen of Navarre, expresses Marot's poetical powers as well as anything else, showing as it does grace of language, tender and elegant sentiment, and suppleness, ease, and fluency of style.
The School of Marot.
Marot formed a very considerable school, some of whom directly imitated his mannerisms, and composed blasons[171] and Coq-à-l'Âne in emulation of their master and of each other, while others contented themselves with displaying the same general characteristics, and setting the same poetical ideals before them. Among the idlest, but busiest literary quarrels of the century, a century fertile in such things, was that between Marot and a certain insignificant person named François Sagon, a belated rhétoriqueur, who found some other rhymers of the same kind to support him. One of Marot's best things, an answer of which his servant, Fripelipes, is supposed to be the spokesman, came of the quarrel; but of the other contributions, not merely of the principals, but of their followers, the Marotiques and Sagontiques, nothing survives in general memory, or deserves to survive. Of Marot's disciples, one, Mellin de Saint Gelais, deserves separate mention, the others may be despatched in passing. Victor Brodeau, who, like his master, held places in the courts both of Marguerite and her brother, wrote not merely a devotional work, Les Louanges de Jésus Christ notre Seigneur, which fairly illustrates the devotional side of the Navarrese literary coterie, but also epigrams and rondeaux of no small merit. Étienne Dolet, better known both as a scholar and translator, and as the publisher of Marot and (surreptitiously) of Rabelais, composed towards the end of his life poems in French, the principal of which was taken in title and idea from Marot's Enfer, and which, though very unequal, have passages of some poetical power. Marguerite herself has left a considerable collection of poems of the most diverse kind and merit, the title of which, Marguerites de la Marguerite des Princesses[172], is perhaps not the worst thing about them. Farces, mysteries, religious poems, such as Le Triomphe de l'Agneau, and Le Miroir de l'Âme Pécheresse, with purely secular pieces on divers subjects, make up these curious volumes. Not a few of the poems display the same nobility of tone and stately sonorousness of verse, which has been and will be noticed as a characteristic of the serious poetry of the age, and which reached its climax in Du Bartas, D'Aubigné, and the choruses of Garnier and Montchrestien. Bonaventure des Périers, an admirable prose writer, was a poet, though not a very strong one. François Habert, 'Le Banni de Liesse,' must not be confounded with Philippe Habert, author of a remarkable Temple de la Mort in the next century. Gilles Corrozet, author of fables in verse, who, like many other literary men of the time, was a printer and publisher as well, Jacques Gohorry, a pleasant song writer, Gilles d'Aubigny, Jacques Pelletier, Étienne Forcadel, deserve at least to be named. Of more importance were Hugues Salel, Charles Fontaine, Antoine Héroet, Maurice Scève. All these were members of the Lyonnese literary coterie, and in connection with this Louise Labé also comes in. Salel, famous as the first French translator of the Iliad, or rather of Books I-XII thereof, distinguished himself as a writer of blasons in imitation of Marot, as well as by composing many small poems of the occasional kind. Charles Fontaine exhibited the fancy of the time for conceits in the entitling of books by denominating his poems Ruisseaux de la Fontaine, and was one of the chief champions on Marot's side in the quarrel with Sagon, while he afterwards defended the style Marotique against Du Bellay's announcement of the programme of the Pléiade. But perhaps he would hardly deserve much remembrance, save for a charming little poem to his new-born son, which M. Asselineau has made accessible to everybody in Crepet's Poètes Français[173]. He also figures in a literary tournament very characteristic of the age. La Borderie, another disciple of Marot, had written a poem entitled L'Amye de Cour, which defended libertinism, or at least worldly-mindedness in love, in reply to the Parfaite Amye of Antoine Héroet, which exhibits very well a certain aspect of the half-amorous, half-mystical sentiment of the day. Fontaine rejoined in a Contr'Amye de Cour. Maurice Scève is also a typical personage. He was, it may be said, the head of the Lyonnese school, and was esteemed all over France. He was excepted by the irreverent champions of the Pléiade from the general ridicule which they poured on their predecessors, and was surrounded by a special body of feminine devotees and followers, including his kinswomen Claudine and Sibylle Scève, Jeanne Gaillarde, and above all Louise Labé. Scève's poetical work is strongly tinged with classical affectation and Platonic mysticism; and his chief poem, De l'Objet de la plus haute Vertu, consists of some four hundred and fifty dizains written in what in England and later has been, not very happily, called a metaphysical style. Last of all comes the just-mentioned Louise Labé, 'La belle Cordière,' one of the chief ornaments of Lyons, and the most important French poetess of the sixteenth century. Louise was younger, and wrote later than most of the authors just mentioned, and in some respects she belongs to the school of Ronsard, like her supposed lover, Olivier de Magny. But the Lyons school was essentially Marotique, and much of the style of the elder master is observable in the writings of Louise[174]. She has left a prose Dialogue d'Amour et de Folie, three elegies, and a certain number of sonnets. Her poems are perhaps the most genuinely passionate of the time and country, and many of the sonnets are extremely beautiful. The language is on the whole simple and elegant, without the over-classicism of the Pléiade, or the obscurity of her master Scève. Strangely enough the poems of this young Lyonnese lady have in many places a singular approach to the ring of Shakespeare's sonnets and minor works, and that not merely by virtue of the general resemblance common to all the love poetry of the age, but in some very definite traits. Her surname of 'La belle Cordière' came from her marriage with a rich merchant, Ennemond Perrin by name, who was by trade a ropemaker. Her poems have had their full share of the advantages of reprints, which have of late years fallen to the lot of sixteenth-century authors in France.
Mellin de St. Gelais.
Mellin de Saint Gelais[175], the last to be mentioned but the most important of the school of Marot, has been very variously judged. The mere fact that he was probably the introducer of the sonnet into France (the counter claim of Pontus de Tyard seems to be unfounded) would suffice to give him a considerable position in the history of letters. But Mellin's claims by no means rest upon this achievement. He was a man of higher position than most of the other poets of the time, being the reputed son of Octavien de Saint Gelais, and himself enjoying a good deal of royal favour. In his old age, as the representative of the school of Marot, he had to bear the brunt of the Pléiade onslaught, and knew how to defend himself, so that a truce was made. He was born in 1487, and died in 1558. His name is also spelt Merlin, and even Melusin, the Saint Gelais boasting descent from the Lusignans, and thus from the famous fairy heroine Mélusine. In his youth he spent a good deal of time in Italy, at the Universities of Bologna and Padua. On returning to France, he was at once received into favour at court, and having taken orders, obtained various benefices and appointments which assured his fortune. It is remarkable that though he violently opposed Ronsard's rising favour at court, both the Prince of Poets and Du Bellay completely forgave him, and pay him very considerable compliments, the latter praising his 'vers emmiellés,' the former speaking, even after his death, of his proficiency in the combined arts of music and poetry. Saint Gelais was a good musician, and an affecting story is told of his swan-song, for which, as for other anecdotes, there is no space here. His work, though not inconsiderable in volume, is, even more than that of Marot and other poets of the time and school, composed for the most part of very short pieces, epigrams, rondeaux, dizains, huitains, etc. These pieces display more merit than most recent critics have been disposed to allow to them. The style is fluent and graceful, free from puns and other faults of taste common at the time. The epigrams are frequently pointed, and well expressed, and the complimentary verse is often skilful and well turned. Mellin de Saint Gelais is certainly not a poet of the highest order, but as a court singer and a skilful master of language he deserves a place among his earlier contemporaries only second to that of Marot.