Marot, however, whose inspiration, in so far as it was not born of his own genius, appears to be chiefly derived from Vergil, whose first eclogue he translated in his youth, was far from being the only poet who wrote bucolic verse or bore other witness to pastoral influence. France was not behind other nations in embracing the Italian models. Margaret, as I have said, imitated Sannazzaro in her Histoire des satyres et nymphes de Diane. The Arcadia was translated in 1544. Du Bellay was familiar with the original and honoured its author with imitation, translation, and even a respectful mention of it in his famous Défense. Elsewhere he asks:
Qui fera taire la musette
Du pasteur néapolitain?
The first part of Belleau's Bergerie appeared in 1565, the complete work, including a piscatory poem, in 1572. On the stage Nicolas Filleul anticipated the regular Italian drama in a dramatized eclogue entitled Les Ombres in 1566. Later Nicolas de Montreux, better known under the name of Ollenix du Mont-Sacré, a writer of a religious cast, and author of a romantic comedy on the story of Potiphar's wife, composed three pastoral plays, Athlette, Diane, and Arimène, which appeared in 1585, 1592, and 1597 respectively. They are conventional pastorals on the Italian model, futile in plot and commonplace in style. He was also the author of the Bergerie de Juliette, a romance published in 1592, which Robert Tofte is credited with having translated in his Honour's Academy,' or the Famous Pastoral of the Fair Shepherdess Julietta,' which appeared at London in 1610. Tofte's work, however, while purporting to be 'done into English,' makes no mention of the original author, and though indebted for its form and title to Nicholas' romance does not appear to bear much further resemblance to it. A far more important work in itself, but one which does not much concern us here, is Honoré d'Urfé's Astrée, an autobiographic compilation in which the fashionable pastoral romance found its most consummate example. The work was translated into English as early as 1620, but the history of its influence in this country belongs almost exclusively to the French vogue, which began about the middle of the century, and formed such an important element in the literature of the restoration.
The comparatively small influence exerted by the French pastoral of the renaissance on that of England must excuse the scanty summary given in the preceding paragraphs. It remains to be said that there had existed at an earlier period in France another and very different tradition, which supplied one of the regular forms of composition in vogue among trouvères and troubadours alike. The pastourelle has sometimes been described as a popular form, but it would be difficult to determine wherein its 'popularity,' in the sense intended, consists, for it is easily recognized as the offspring of a knightly minstrelsy, and indeed is scarcely less artificial or conventional than the Italian eclogue. Although the situation is frequently developed with resource and invention on the part of the individual poet, the general type is rigidly fixed. The narrator, who is a minstrel and usually a knight, while riding along meets a shepherd-girl, to whom he pays his court with varying success. This is the simple framework on which the majority are composed. A few, on the other hand, depart from the type and depict purely rustic scenes. Others--and the fact is at least significant--serve to convey allusions, political, personal or didactic: a variety found as early as the twelfth century in Provençal, and about the fourteenth in northern French. Wandering scholars adopted the form from the knightly singers and produced a plentiful crop of Latin pastoralia, usually of a somewhat burlesque nature. An idea of the general style of these may be gathered from such lines as the following, which contain the reply of a country girl hesitating before the advances of a merry student:
Si senserit meus pater
uel Martinus maior frater,
erit mihi dies ater;
uel si sciret mea mater,
cum sit angue peior quater:
uirgis sum tributa.[[70]]
Appropriated, lastly, and refashioned by the hand of an original genius, the pastourelle gave to German poetry the crowning jewel of its Minnesang in Walther's 'Under der linden,' with its irrepressibly roguish refrain:
Kuster mich? wol tûsentstunt:
tandaradei,
seht wie rôt mir ist der munt!
Connected with the pastourelles of the langue d'oïl is an isolated dramatic effort, of a primitive and naïve sort, but of singular grace and charm. Li jus Robins et Marion, the work of Adan le Bochu or de le Hale, is in fact a dramatized pastourelle of some eight hundred lines beginning with the rejection by a shepherdess of the advances of a knight and ending with the rustic sports of the shepherds on the green. Unsophisticated nature and playful cunning unite in no ordinary degree to lend delicacy and savour to the work, while the literary quality of Adan's verse is evident in such incidental songs as Marion's often quoted:
Robins m'aime, Robins m'a, Robins m'a demandee, si m'ara.
In spite, however, of the genuine naïveté and natural realism of the piece, it is easy to recognize in it something of the same spirit of gentle raillery that sparkles in the graceful octaves of Lorenzo's Nencia.