Chapter XXIX: Francis I. and the Renaissance (2)

A poet who no more than Clement Marot produced any great poetical work, and was very different from him in their small way, Francis Villon, in fact, preceded him by about three quarters of a century. The most distinguished amongst the literary critics of our time have discussed the question as to which of the two, Villon or Marot, should be regarded as the last poet of the middle ages and the first of modern France. M. Sainte-Beuve, without attempting to precisely solve that little problem, has distinguished and characterized the two poets with so much of truth and tact that there can be no hesitation about borrowing his words: “Was Villon,” is the question he puts to himself, “an originator? Did he create a style of poesy? Had he any idea of a literary reaction, as we should say nowadays? What is quite certain is, that he possessed original talent; that amidst all the execrable tricks wherein he delighted and wherein he was a master, he possessed the sacred spark. . . . A licentious scamp of a student, bred at some shop in the Cite or the Place Maubert, he has a tone which, at least as much as that of Regnier, has a savor of the places the author frequented. The beauties whom he celebrates--and I blush for him--are none else than _la blanche Savetiere_ (the fair cobbleress), or _la gente Saul cissiere, du coin_ (the pretty Sausage girl at the corner). But he has invented for some of those natural regrets which incessantly recur in respect of vanished beauty and the flight of years a form of expression, truthful, charming, and airy, which goes on singing forever in the heart and ear of whosoever has once heard it. He has flashes, nothing more than flashes, of melancholy. . . . It is in reading the verses of Clement Marot that we have, for the first time as it seems to me, a very clear and distinct feeling of having got out from the circumbendibus of the old language, from the Gallic tangle. We are now in France, in the land and amidst the language of France, in the region of genuine French wit, no longer that of the boor, or of the student, or of the burgess, but of the court and good society. Good society, in poesy, was born with Marot, with Francis I., and his sister Marguerite, with the Renaissance: much will still have to be done to bring it to perfection, but it exists and will never cease again. . . . Marot, a poet of wits rather than of genius or of great talent, but full of grace and breeding, who has no passion, but is not devoid of sensibility, has a way of his own of telling and saying things; he has a turn of his own; he is, in a word, the agreeable man, the gentleman-like man, who is bound to be pleasant and amusing, and who discharges his duty with an easy air and unexceptionable gallantry.”

There we have exactly the new character which Marot, coming between Villon and Ronsard, gave in the sixteenth century to French poesy. We may be more exacting than M. Sainte-Beuve; we may regret that Marot, whilst rescuing it from the streets, confined it too much to the court; the natural and national range of poesy is higher and more extensive than that; the Hundred Years’ War and Joan of Arc had higher claims. But it is something to have delivered poesy from coarse vulgarity, and introduced refinement into it. Clement Marot rendered to the French language, then in labor of progression, and, one might say, of formation, eminent service: he gave it a naturalness, a clearness, an easy swing, and, for the most part, a correctness which it had hitherto lacked. It was reserved for other writers, in verse and prose, to give it boldness, the richness that comes of precision, elevation, and grandeur.

In 1534, amidst the first violent tempest of reform in France, Clement Marot, accused of heresy, prudently withdrew and went to seek an asylum at Ferrara, under the protection of the duchess, Renee of France, daughter of Louis XII. He there met Calvin, who already held a high position amongst the Reformers, and who was then engaged on a translation of the Psalms in verse. The reformer talked to the poet about this grand Hebrew poesy, which, according to M. Villemain’s impression, “has defrayed in sublime coin the demands of human imagination.” Marot, on returning to France, found the College Royal recently instituted there, and the learned Vatable [Francis Watebled, born at Gamaches, in Picardy, died at Paris in 1547] teaching Hebrew with a great attendance of pupils and of the curious. The professor engaged the poet to translate the Psalms, he himself expounding them to him word by word. Marot translated thirty of them, and dedicated them to Francis I., who not only accepted the dedication, but recommended the work and the author to Charles V., who was at that time making a friendly passage through France on his way to put down the insurrection at Ghent. “Charles V. accepted the said translation graciously” [as appears by a letter in 1559 to Catherine de’ Medici from Villemadon, one of Marguerite of Navarre’s confidential servants], “commended it both by words and by a present of two hundred doubloons, which he made to Marot, thus giving him courage to translate the rest of the Psalms, and praying him to send him as soon as possible the Psalm _Confitemini Domino, quoniam bonus_ [Trust in the Lord, for He is good], so fond was he of it.” Singular fellow-feeling between Charles V. and his great adversary Luther, who said of that same psalm, “It is my friend; it has saved me in many a strait from which emperor, kings, sages, nor saints could have delivered me!” Clement Marot, thus aided and encouraged in this work which gave pleasure to Francis I. and Charles V., and must have been still more interesting to Calvin and Luther, prosecuted his work and published in 1541 the first thirty psalms; three years afterwards, in 1543, he added twenty others, and dedicated the collection “to the ladies of France,” in an epistle wherein the following verses occur:

“Happy the man whose favored ear In golden days to come shall hear The ploughman, as he tills the ground, The tarter, as he drives his round, The shopman, as his task he plies, With psalms or sacred melodies Whiling the hours of toil away! O, happy he who hears the lay Of shepherd and of shepherdess, As in the woods they sing and bless, And make the rocks and pools proclaim With them their great Creator’s name! O, can ye brook that God invite Them before you to such delight? Begin, ladies, begin! . . .”

A century after Marot’s time, in 1649, a pious and learned Catholic, Godeau, Bishop of Grasse and member of the nascent French Academy, was in his turn translating the Psalms, and rendered full justice to the labors of the poet, his predecessor, and to the piety of the Reformers, in the following terms “Those whose separation from the church we deplore have rendered the version they make use of famous by the pleasing airs that learned musicians set them to when they were composed. To know them by heart is, amongst them, a sign of the communion to which they belong, and in the towns in which they are most numerous the airs may be heard coming from the mouths of artisans, and in the country from those of tillers.”

In 1555, eight years after the death of Francis I., Estienne Pasquier wrote to Ronsard, “In good faith, there was never seen in France such a glut of poets. I fear that in the long run people will weary of them. But it is a vice peculiar to us that as soon as we see anything succeeding prosperously for any one, everybody wants to join in.” Estienne Pasquier’s fear was much better grounded after the death of Francis I., and when Ronsard had become the head of the poet-world, than it would have been in the first half of the sixteenth century. During the reign of Francis I. and after the date of Clement Marot, there is no poet of any celebrity to speak of, unless we except Francis I. himself and his sister Marguerite; and it is only in compliment to royalty’s name that they need be spoken of. They, both of them, had evidently a mania for versifying, even in their most confidential communications, for many of their letters to one another, those during the captivity of Francis I. at Madrid amongst the rest, are written in verse; but their verses are devoid of poesy; they are prose, often long-winded and frigid, and sometimes painfully labored. There is, however, a distinction to be made between the two correspondents. In the letters and verses of Marguerite there is seen gleaming forth here and there a sentiment of truth and tenderness, a free and graceful play of fancy. We have three collections of her writings: 1. her _Heptameron, ou les Sept Journees de la Reine de Navarre,_ a collection of sixty-eight tales more or less gallant, published for the first time in 1558, without any author’s name; 2. her _OEuvres poetiques,_ which appeared at Lyons in 1547 and 1548, in consequence of her being alive, under the title of _Les Marguerites de la Marguerite des Princesses_ (the Pearls of the Pearl of Princesses), and of which one of her grooms of the chamber was editor; in addition to which there is a volume of _Poesies inedites,_ collected by order of Marguerite herself, but written by the hand of her secretary John Frotte, and preserved at Paris amongst the manuscripts of the Bibliotheque nationale; 3. the Collection of her Letters, published in 1841, by M. F. Genin. This last collection is, morally as well as historically, the most interesting of the three. As for Francis I. himself, there is little, if anything, known of his posies beyond those which have been inserted in the _Documents relatifs a sa Captivite a Madrid,_ published in 1847 by M. Champollion-Figeac; some have an historical value, either as regards public events or Francis I.’s relations towards his mother, his sister, and his mistresses; the most important is a long account of his campaign, in 1525, in Italy, and of the battle of Pavia; but the king’s verses have even less poetical merit than his sister’s.

Francis I.’s good will did more for learned and classical literature than for poesy. Attention has already been drawn to the names of the principal masters in the great learned and critical school which devoted itself, in this reign, to the historical, chronological, philological, biographical, and literary study of Greek and Roman antiquity, both Pagan and Christian. It is to the labors of this school and to their results that the word Renaissance is justly applied, and that the honor is especially to be referred of the great intellectual progress made in the sixteenth century. Francis I. contributed to this progress, first by the intelligent sympathy he testified towards learned men of letters, and afterwards by the foundation of the _College Royal,_ an establishment of a special, an elevated, and an independent sort, where professors found a liberty protected against the routine, jealousy, and sometimes intolerance of the University of Paris and the Sorbonne. The king and his sister Marguerite often went to pay a visit, at his printing-place in St. Jean de Beauvais Street, to Robert Estienne (Stephanus), the most celebrated amongst that family of printer-publishers who had so much to do with the resurrection of ancient literature. It is said that one day the king waited a while in the work-room, so as not to disturb Robert Estienne in the correction of a proof.

When the violence bred of religious quarrels finally forced the learned and courageous printer to expatriate himself, his first care was to say, at the head of his apology, “When I take account of the war I have carried on with the Sorbonne for a space of twenty years or thereabouts, I cannot sufficiently marvel how so small and broken-down a creature as I am had strength to maintain it. When I was seen being harried on all sides, how often have I been the talk on street and at banquets, whilst people said, ‘It is all over with him; he is caught, he cannot escape; even if the king would, he could not save him.’ . . . I wish to justify myself against the reproach of having left my country, to the hurt of the public weal, and of not having acknowledged the great liberality displayed towards me by the king; since it was a high honor for me that the king, having deigned to make me his printer, always kept me under his protection, in the face of all who envied me and wished me ill, and never ceased to aid me graciously in all sorts of ways.”

The _College Royal,_ no less than Robert Estienne, met with obstacles and ill-wishers; it was William Bude (Budeaus) who first suggested the idea of the college to the king, primarily with the limited purpose of securing instruction in Greek and Hebrew, after the fashion of the College of Young Grecians and the College of the Three Languages (the Trilingual, Hebrew, Greek, and Latin), of which the former was founded at Rome by Leo X., the latter at Louvain by Canon Jerome Busleyden. Francis I. readily surrendered himself to more magnificent projects; he was anxious to erect a splendid building on the site of the Hotel de Nesle, and to put Erasmus at the head of the College Royal. War incessantly renewed and the nascent religious troubles interfered with his resolutions; but William Bude never ceased to urge upon the king an extension of the branches of learning in the establishment; and after the Peace of Cambrai in 1529, chairs of mathematics, Oriental languages, Latin oratory, Greek and Latin philosophy, and medicine were successively added to the chairs of Hebrew and Greek which had been the original nucleus of instruction in the College Royal. It continued to be an object of suspicion to the Sorbonne and of hesitation in the Parliament, to which royalty had recourse against the attacks of its adversaries. But it had no lack of protectors, nevertheless: the Cardinal of Lorraine, Charles IX., and Catherine de’ Medici herself supported it in its trials; and Francis I. had the honor of founding a great school of the higher sort of education, a school, which, throughout all the religious dissensions and all the political revolutions of France, has kept its position and independence, whatever may have been elsewhere, in the matter of public instruction, the system and the regimen of state establishments.

A few words have already been said about the development of the arts, especially architecture and sculpture, in the middle ages, and of the characteristics, original and national, Gallic and Christian, which belonged to them at this period, particularly in respect of their innumerable churches, great and small. A foreglance has been given of the alteration which was brought about in those characteristics, at the date of the sixteenth century, by the Renaissance, at the same time that the arts were made to shine with fresh and vivid lustre. Francis I. was their zealous and lavish patron; he revelled in building and embellishing palaces, castles, and hunting-boxes, St. Germain, Chenonceaux, Fontainebleau, and Chambord; his chief councillors, Chancellor Duprat and Admiral Bonnivet, shared his taste and followed his example; several provinces, and the banks of the Loire especially, became covered with splendid buildings, bearing the marks of a complicated character which smacked of imitations from abroad. Italy, which, from the time of Charles VIII. and Louis XII., had been the object of French kings’ ambition and the scene of French wars, became also the school of French art; national and solemn Christian traditions were blended, whilst taking an altered form, with the Italian resuscitation of Greek and Roman antiquity. Italian artists, such as Rosso of Florence, Primatice of Bologna, Niccolo dell’ Abbate of Modena, and Benvenuto Cellini of Florence, came and settled in France, and there inspired and carried out the king’s projects and works. Leonardo da Vinci, full of years and discontented with his Italian patrons, accompanied Francis I. to France, and died in his arms at the castle of Clou, near Amboise, where he had fixed his residence. Some great French artists, such as the painter John Cousin and the sculptor John Goujon, strove ably to uphold the original character and merits of French art; but they could not keep themselves entirely aloof from the influence of this brilliant Italian art, for which Francis I.’s successors, even more than he, showed a zealous and refined attachment, but of which he was, in France, the first patron.

We will not quit the first half of the sixteenth century and the literary and philosophical Renaissance which characterizes that period, without assigning a place therein at its proper date and in his proper rank to the name, the life, and the works of the man who was not only its most original and most eminent writer, but its truest and most vivid representative, Rabelais.

Francis Rabelais, who was born at Chinon in 1495, and died at Paris in 1553, wandered during those fifty-eight years about France and Europe from town to town, from profession to profession, from good to bad and from bad to good estate; first a monk of the Cordeliers; then, with Pope Clement VII.’s authority, a Benedictine; then putting off the monk’s habit and assuming that of a secular priest in order to roam the world, “incurring,” as he himself says, “in this vagabond life, the double stigma of suspension from orders and apostasy;” then studying medicine at Montpellier; then medical officer of the great hospital at Lyons, but, before long, superseded in that office “for having been twice absent without leave;” then staying at Lyons as a corrector of proofs, a compiler of almanacs, an editor of divers books for learned patrons, and commencing the publication of his _Vie tres-horrifique du grand Gargantua, pere de Pantagruel_ (Most horrifying life of the great Gargantua, father of Pantagruel), which was immediately proceeded against by the Sorbonne “as an obscene tale.” On grounds of prudence or necessity Rabelais then quitted Lyons and set out for Rome as physician attached to the household of Cardinal John Du Bellay, Bishop of Paris and envoy from France to the Holy See; the which bishop “having relished the profound learning and competence of Rabelais, and having, besides, discovered in him fine humor and a conversation capable of diverting the blackest melancholy, retained him near his person in the capacity of physician in ordinary to himself and all his family, and held him ever afterwards in high esteem.” After two years passed at Rome, and after rendering all sorts of service in his patron’s household, Rabelais, “feeling that the uproarious life he was leading and his licentious deeds were unworthy of a man of religion and a priest,” asked Pope Paul III. for absolution, and at the same time permission to resume the habit of St. Benedict, and to practise “for piety’s sake, without hope of gain and in any and every place,” the art of medicine, wherein he had taken, he said, the degrees of bachelor, licentiate, and doctor. A brief of Pope Paul III.’s, dated January 17, 1536, granted his request. Seventeen months afterwards, on the 22d of May, 1537, Rabelais reappears at Montpellier, and there receives, it is said, the degree of doctor, which he had already taken upon himself to assume. He pursues his life of mingled science and adventure, gives lessons, and gads about so much that “his doctor’s gown and cap are preserved at Montpellier, according to tradition, all dirty and torn, but objects of respectful reminiscence.” In 1538 Rabelais leaves Montpellier, and goes to practise medicine at Narbonne, Castres, and Lyons. In 1540 he tires of it, resumes, as he had authority to do, the habit of a canon of St. Maur, and settles in that residence, “a paradise,” as he himself says, “of salubrity, amenity, serenity, convenience, and all the chaste pleasures of agriculture and country-life.” Between 1540 and 1551 he is, nevertheless, found once more wandering, far away from this paradise, in France, Italy, and, perhaps, England; he completes and publishes, under his own name, the _Faits et Dicts heroiques de Pantagruel,_ and obtains from Francis I. a faculty for the publication of “these two volumes not less useful than delightful, which the printers had corrupted and perverted in many passages, to the great displeasure and detriment of the author, and to the prejudice of readers.” The work made a great noise; the Sorbonne resolved to attack it, in spite of the king’s approbation; but Francis I. died on the 31st of March, 1547. Rabelais relapsed into his life of embarrassment and vagabondage; on leaving France he had recourse, first at Metz and afterwards in Italy, to the assistance of his old and ever well-disposed patron, Cardinal John Du Bellay. On returning to France he obtained from the new king, Henry II., a fresh faculty for the printing of his books “in Greek, Latin, and Tuscan;” and, almost at the same time, on the 18th of January, 1551, Cardinal Du Bellay, Bishop of Paris, conferred upon him the cure of St. Martin at Meudon, “which he discharged,” says his biographer Colletet, “with all the sincerity, all the uprightness, and all the charity that can be expected of a man who wishes to do his duty, and to the satisfaction of his flock.” Nevertheless, when the new holder of the cure at Meudon, shortly after his installation, made up his mind to publish the fourth book of the _Faits et Dicts heroiques du bon Pantagruel,_ the work was censured by the Sorbonne and interdicted by decree of Parliament, and authority to offer it for sale was not granted until, on the 9th of February, 1552, Rabelais had given in his resignation of his cure at Meudon, and of another cure which he possessed, under the title of benefice, in the diocese of Le Mans. He retired in bad health to Paris, where he died shortly afterwards, in 1553, “in Rue des Jardins, parish of St. Paul, in the cemetery whereof he was interred,” says Colletet, “close to a large tree which was still to be seen a few years ago.”

Such a life, this constant change of position, profession, career, taste, patron, and residence, bore a strong resemblance to what we should nowadays call a Bohemian life; and everything shows that Rabelais’ habits, without being scandalous, were not more regular or more dignified than his condition in the world. Had we no precise and personal information about him in this respect, still his literary work, _Gargantua and Pantagruel,_ would not leave us in any doubt: there is no printed book, sketch, conversation, or story, which is more coarse and cynical, and which testifies, whether as regards the author or the public for whom the work is intended, to a more complete and habitual dissoluteness in thought, morals, and language. There is certainly no ground for wondering that the Sorbonne, in proceeding against the _Vie tres-horrifique du grand Gargantua, pere de Pantagruel,_ should have described it as “an obscene tale;” and the whole part of Panurge, the brilliant talker of the tale,

“Take him for all in all the best boy in the world,”

fully justifies the Sorbonne. But, by way of striking contrast, at the same time that the works of Rabelais attest the irregularity of men’s lives and minds, they also reveal the great travail that is going on and the great progress that has already been made in the intellectual condition of his day, in the influence of natural and legitimate feelings, and in the appreciation of men’s mutual rights and duties. Sixty-two years ago M. Guizot published, in a periodical collection entitled _Annales de l’Education,_ a Study of Rabelais’ ideas compared with the practice and routine of his day in respect of Education; an important question in the sixteenth as it is in the nineteenth century. It will be well to quote here from that Study certain fragments which will give some notion of what new ideas and tendencies were making their way into the social life of France, and were coincident with that great religious and political ferment which was destined to reach bursting-point in the reign of Francis I., and to influence for nearly a century the fortunes of France.

“It was no easy matter,” were the words used by M. Guizot in 1811, “to speak reasonably about education at the time when Rabelais wrote. There was then no idea of home-education and the means of rendering it practicable. As to public education, there was no extensive range and nothing really useful to the community in the instruction received by children at college; no justice and no humanity in the treatment they experienced; a fruitless and ridiculously prolonged study of words succeeded by a no less fruitless study of interminable subtilties, and all this fruitless knowledge driven into the brains of children by help of chastisements, blows, and that barbarous severity which seems to regard the _Compelle intrare_ as the principal law and object of instruction. How proceed, in such a state of things, to conceive a plan of liberal, gentle, and reasonable education? Rabelais, in his book, had begun by avoiding the danger of directly shocking received ideas; by transporting both himself and his heroes to the regions of imagination and extravagance he had set himself at liberty to bring them up in quite a different fashion than that of his times; the rectors of colleges could not pretend that Pantagruel, who was hardly born before he sucked down at every meal the milk of four thousand six hundred cows, and for whose first shirt there had been cut nine hundred ells of Chatellerault linen, was a portrait of any of the little boys who trembled at their ferules. . . . Pantagruel is in his cradle; he is bound and swathed in it like all children at that time; but, ere long, Gargantua, his father, perceives that these bands are constraining his movements, and that he is making efforts to burst there; he immediately, by advice of the princes and lords present, orders the said shackles to be undone, and lo! Pantagruel is no longer uneasy. . . . And thus became he big and strong full early. . . . There came, however, the time when his instruction must begin. ‘My will,’ said Gargantua, ‘is to hand him over to some learned man for to indoctrinate him according to his capacity, and to spare nothing to that end.’ He, accordingly, put Pantagruel under a great teacher, who began by bringing him up after the fashion of those times. He taught him his charte (alphabet) to such purpose that he could say it by heart backwards, and he was five years and three months about it. Then he read with him Donotus and Facetus (old elementary works on Latin grammar), and he was thirteen years, six months, and two weeks over that. Then he read with him the De Modis significandi, with the commentaries of Hurtebisius, Fasquin, and a heap of others, and he was more than eighteen years and eleven months over them, and knew them so well that he proved on his fingers to his mother that _de modis signifieandi non erat scientia_. After so much labor and so many years, what did Pantagruel know? Gargantua was no bigot: he did not shut his eyes that he might not see, and he believed what his eyes told him. He saw that Pantagruel worked very hard and spent all his time at it, and yet he got no good by it. And what was worse, he was becoming daft, silly, dreamy, and besotted through it. So Pantagruel was taken away from his former masters and handed over to Ponocrates, a teacher of quite a different sort, who was bidden to take him to Paris to make a new creature of him and complete his education there. Ponocrates was very careful not to send him to any college. Rabelais, as it appears, had a special aversion for Montaigu College. ‘Tempeste,’ says he, ‘was a great boy-flogger at Montaigu College. If for flogging poor little children, unoffending school-boys, pedagogues are damned, he, upon my word of honor, is now on Ixion’s wheel, flogging the dock-tailed cur that turns it.’ Pantagruel’s education was now humane and gentle. Accordingly he soon took pleasure in the work which Ponocrates was at the pains of rendering interesting to him by the very nature and the variety of the subjects of it. . . . Is it not a very remarkable phenomenon that at such a time and in such a condition of public instruction a man should have had sufficient sagacity not only to regard the natural sciences as one of the principal subjects of study which ought to be included in a course of education, but further to make the observation of nature the basis of that study, to fix the pupil’s attention upon examination of facts, and to impress upon him the necessity of applying his knowledge by studying those practical arts and industries which profit by such applications? That, however, Rabelais did, probably by dint of sheer good sense, and without having any notion himself about the wide bearing of his ideas. Ponocrates took Pantagruel through a course of what we should nowadays call practical study of the exact and natural sciences as they were understood in the sixteenth century; but, at the same time, far from forgetting the moral sciences, he assigns to them, for each day, a definite place and an equally practical character. ‘As soon as Pantagruel was up,’ he says, ‘some page or other of the sacred Scripture was read with him aloud and distinctly, with pronunciation suited to the subject. . . . In accordance with the design and purport of this lesson, he at frequent intervals devoted himself to doing reverence and saying prayers to the good God, whose majesty and marvellous judgments were shown forth in what was read. . . . When evening came, he and his teacher briefly recapitulated together, after the manner of the Pythagoreans, all that he had read, seen, learned, and heard in the course of the whole day. They prayed to God the Creator, worshipping Him, glorifying Him for his boundless goodness, giving Him thanks for all the time that was past, and commending themselves to His divine mercy for all that was to come. This done, they went to their rest.’ And at the end of this course of education, so complete both from the worldly and the religious point of view, Rabelais shows us young Pantagruel living in affectionate and respectful intimacy with his father Gargantua, who, as he sees him off on his travels, gives him these last words of advice: Science without conscience is nought but ruin to the soul; it behooves thee to serve, love, and fear God. Have thou in suspicion the abuses of the world; set not thine heart on vanity, for this life is transitory, but the word of God abideth forever. Reverence thy teachers; flee the company of those whom thou wouldest not resemble. . . . And when thou feelest sure that thou hast acquired all that is to be learned yonder, return to me that I may see thee and give thee my blessing ere I die.’”

After what was said above about the personal habits and the works of Rabelais, these are certainly not the ideas, sentiments, and language one would expect to find at the end and as the conclusion of his life and his book. And it is precisely on account of this contrast that more space has been accorded in this history to the man and his book than would in the natural course of things have been due to them. At bottom and, beyond their mere appearances the life and the book of Rabelais are a true and vivid reflection of the moral and social ferment characteristic of his time. A time of innovation and of obstruction, of corruption and of regeneration, of decay and of renaissance, all at once. A deeply serious crisis in a strong and complicated social system, which had been hitherto exposed to the buffets and the risks of brute force, but was intellectually full of life and aspiration, was in travail of a double yearning for reforming itself and setting itself in order, and did indeed, in the sixteenth century, attempt at one and the same time a religious and a political reformation, the object whereof, missed as it was at that period, is still at the bottom of all true Frenchmen’s trials and struggles. This great movement of the sixteenth century we are now about to approach, and will attempt to fix its character with precision and mark the imprint of its earliest steps.