Works: l'Adolescence Clémentine, 1532; Oeuvres de Clément Marot, Lyon, 1538; Trente Psaumes de David, 1541; Cinquante Psaumes de David, 1543 ; les Oeuvres de Clément Marot, Lyon, 1544; Oeuvres complètes de Clément Marot, par M. Guiffrey, 1876-81 (only part has appeared); Oeuvres complètes, par P. Jannet, 4 vols., 1868-72; Oeuvres choisies, par E. Voizard, 1890.
For reference: E. Scherer, Études littéraires sur la littérature contemporaine, vol. viii; Emile Faguet, le Seizième siècle, 1893; H. Morley, C. Marot and other studies, London, 1871.
RONDEAU. For the form see the remarks on versification.
20. SE DEMENOIT, expressed itself. 21. C'ESTOIT DONNÉ TOUTE LA TERRE RONDE, i.e. it was as if one had given. 23. "They loved each other for the heart alone."
24. SI A JOUIR ON VENOIT, if one's love was returned. 25. s'entretenoit, kept faith.
7 2. FEINCTS, feints. OYT, from ouïr. 3. Qui = si quelqu'un. ME FONDE, rely.
PIERRE DE RONSARD.
1524-1585.
The greatest French poet of the Renaissance, he entered the household of the Duke of Orleans at the age of ten, spent three years as page of James V. of Scotland, and traveled much about Europe on various embassies. At eighteen, attacked by deafness, he withdrew to the college of Coqueret and was won to poetry by study of the ancients. It was then that a common love for the classical literatures and a common zeal for imitating their beauties in French bound him to the other young men who with him called themselves the Pleiad and set themselves to the task of renewing French literature in the image of the literatures of antiquity. In 1550, the year after the appearance of the manifesto of the young school, the Défense et Illustration de la langue française of du Bellay, he published a volume of odes. His fame was instant and immense; he returned in glory to court, and for forty years the authority of his example was hardly questioned. His talent was exercised in almost all kinds of verse, chansons, sonnets, elegies, eclogues, hymns, epistles, and even in the epic, where, however, his experiment, la Franciade, was a complete failure, abandoned when but four of the proposed twelve cantos were finished. But his genius was essentially lyric. The ode was his special contribution to French verse; in it he followed the classical form with its divisions into strophe, antistrophe, and epode, sometimes in direct imitation of Pindar, Anacreon, Theocritus, or Horace. His best work is that in which he freed himself most fully from the influence of a model. His deepest and truest note's are those that celebrate the pleasures of this life, the delights of nature, and the inevitable "cold obstruction" of death.
Works: Odes and Bocage, 1550; Amours, Odes, book v, 1552, 1553; Hymnes, 1555, book ii, 1556; Meslanges, 1555, book ii, 1559; Oeuvres (Amours, Odes, Poèmes, Hymnes), 4 vols., 1560; Oeuvres, i vol., 1584; recent editions are Oeuvres complètes, par P. Blanchemain, 8 vols., 1857-67 (Bibliothèque elzévirienne); par Marty-Laveaux, 6 vols., 1887 ff.; Oeuvres choisies, avec notice de Sainte-Beuve, I vol.