For his life as a prisoner, though melancholy, was not undignified; he paid no allegiance, he met the men of his own rank, nor was he of a kind to whom poverty, the chief thorn of his misfortune, brought dishonour.
Henry V had left it strictly in his will that Orleans the general and the head of the French nationals should not return. For twenty-five years, therefore--all his manhood--he lived under this sky, rhyming and rhyming: in English a little, in French continually, and during that isolation there swept past him far off in his own land the defence, the renewal, the triumph of his own blood: his town relieved, his cousin crowned at Rheims. His river of Loire, and then the Eure, and then the Seine, and even the field where he had fallen were reconquered. Willoughby had lost Paris to Richemont four years before Charles of Orleans was freed on a ransom of half his mother's fortune. It was not until the November of 1440 that he saw his country-side again.
The verse formed in that long endurance (a style which he preserved to the end in the many poems after his release) may seem at a first reading merely mediæval. There is wholly lacking in it the riot of creation, nor can one see at first the Renaissance coming in with Charles of Orleans.
Indeed it was laid aside as mediæval, and was wholly forgotten for three hundred years. No one had even heard of him for all those centuries till Sallier, that learned priest, pacing, full of his Hebrew and Syriac, the rooms of the royal library which Louis XV had but lately given him to govern, found the manuscript of the poems and wrote an essay on them for the Academy.
The verse is full of allegory; it is repetitive; it might weary one with the savour of that unhappy fifteenth century when the human mind lay under oppression, and only the rich could speak their insignificant words; a foreigner especially might find it all dry bones, but his judgement would be wrong. Charles of Orleans has a note quite new and one that after him never failed, but grew in volume and in majesty until it filled the great chorus of the Pleiade--the Lyrical note of direct personal expression. Perhaps the wars produced it in him; the lilt of the marching songs was still spontaneous:
Gentil Duc de Lorraine, vous avez grand renom,
Et votre renommée passe au delà des monts
Et vous et vos gens d'arme, et tous vos compagnons
Au premier coup qu'ils frappent, abattent les Donjons.
Tirez, tirez bombardes, serpentines, Canons!