Chapter VI

_Telle que dans son Char la Berecynthienne
Couronnée de tours, et joyeuse d'avoir
Enfanté tant de Dieux, telle se faisoit voir
En ses jours plus heureux ceste ville ancienne:
Ceste ville qui fust plus que la Phrygienne
Foisonnante en enfants et de qui le pouvoir
Fust le pouvoir du Monde, et ne se peult revoir
Pareille à sa grandeur, grandeur si non la sienne._

_Rome seule pouvoit à Rome ressembler,
Rome seule pouvoit Rome faire trembler:
Aussi n'avoit permis l'ordonnance fatale,
Qu'autre pouvoir humain, tant fust audacieux,
Se vantast d'égaler celle qui fust égale
Sa puissance à la terre, et son courage au cieux._

THE SONNET OF EXILE.

This sonnet dates from the same period at Rome, or possibly from his return. It has a different note. It is the most personal and passionate of all his writings, in which so much was inspired by personal regret. On this account it has a special literary interest as the most _modern_ thing of the Renaissance. It would be far less surprising to find this written by one of the young republicans under the Second Empire (for instance) than to find a couplet of Malherbe's straying into our time.

_THE SONNET OF EXILE._

_France, Mère des arts, des armes, et des loix,
Tu m'as nourry long temps du laict de ta mamelle:
Ores, comme un aigneau qui sa nourisse appelle,
Je remplis de ton nom les antres et les bois,
Si tu m'as pour enfant advoué quelquefois
Que ne me respons-tu maintenant, ô cruelle?
France, France, respons à ma triste querelle:
Mais nul, sinon Echo, ne respond à ma voix._

_Entre les loups cruels j'erre parmy la plaine
Je sens venir l'hyver, de qui la froide haleine
D'une tremblante horreur fait hérisser ma peau.
Las! tes autres agneaux n'ont faute de pasture,
Ils ne craignent le loup, le vent, ny la froidure;
Si ne suis-je pourtant le pire du troppeau._

THE SONNET "HEUREUX QUI COMME ULYSSE."
(_The 31st of the "Regrets"_).

It was of a large gray house, moated, a town beside it, yet not far from woods and standing in rough fields, pure Angevin, Tourmélière, the Manor house of Liré, his home, that Du Bellay wrote this, the most dignified and perhaps the last of his sonnets. The sadness which is the permanent, though sometimes the unrecognized, moderator of his race, which had pierced through in his latter misfortunes, and which had tortured him to the cry that has been printed on the preceding page, here reached a final and a most noble form: something much higher than melancholy, and more majestic than regret. He turned to his estate, the mould of his family, a roof, the inheritance of which had formed his original burden and had at last crushed him; but he turned to it with affection. If one may use so small a word in connection with a great poet, the gentleman in him remembered an ancestral repose.

There is very much in the Sonnet to mark that development of French verse in which Du Bellay played so great a part. The inversion of the sentence, a trick which gives a special character to all the later formal drama is prominent: the convention of contrast, the purely classical allusion, are mixed with a spirit that is still spontaneous and even naïf. But every word is chosen, and it is especially noteworthy to discover so early that restraint in epithet which is the charm but also the danger of what French style has since become. Of this there are two examples here: the eleventh line and the last, which rhymes with it. To contrast slate with marble would be impossible prose save for the exact adjective "_fine_," which puts you at once into Anjou. The last line, in spite of its exquisite murmur, would be grotesque if the "_air marin_" were meant for the sea-shore. Coming as it does after the suggestions of the Octave it gives you suddenly sea-faring: Ulysses, Jason, his own voyages, the long way to Rome, which he knew; and in the "_douceur Angevine_" you have for a final foil to such wanderings, not only in the meaning of the words, but in their very sound, the hearth and the return.

_THE SONNET "HEUREUX QUI COMME ULYSSE"_

_Heureux qui comme Ulysse a fait un beau voyage
Ou comme cestuy là qui conquit la Toison
Et puis est retourné, plein d'usage et raison,
Vivre entre ses parents le reste de son age!
Quand revoirai-je, hélas, de mon petit village
Fumer la cheminée: et en quelle saison
Revoirai-je le clos de ma pauvre maison,
Qui m'est une province, et beaucoup d'avantage?_

_Plus me plaist le séjour qu'ont basty mes aieux
Que des palais Romains le front audacieux:
Plus que le mabre dur me plaist l'ardoise fine,
Plus mon Loyre gaulois que le Tybre Latin,
Plus mon petit Lyré que le Mont Palatin,
Et plus que l'air marin la doulceur Angevine._

THE WINNOWER'S HYMN TO THE WINDS.

This delicate air of summer, this reminiscence and comfort for men who no longer see the Eure or the Bievre or any of their northern rivers, this very mirror of Du Bellay's own exiled mind--was written for an "exercise." It is a translation--a translation from the Latin of a forgotten Venetian scholar.

When a man finds in reading such a startling truth, it convinces him that letters have a power of their own and are greater of themselves than the things which inspired them: for when, to show his skill in rendering Latin into French verse, Du Bellay had written this down, he created and fixed for everybody who was to read him from then onwards the permanent picture of a field by the side of a small, full river, with a band of trees far off, and, above, the poplar leaves that are never still. It runs to a kind of happy croon, and has for a few moments restored very many who have read it to their own place; and Corot should have painted it.

_THE WINNOWER'S HYMN TO THE WINDS._

_A vous troppe legere
Qui d'aele passagere
Par le monde volez,
Et d'un sifflant murmure
L'ombrageuse verdure
Doulcement esbranlez,
J'offre ces violettes,
Ces lis et ces fleurettes
Et ces roses ici,
Ces vermeillettes roses
Tout freschement escloses,
Et ces oeilletz aussi.
De vostre doulce haleine
Eventez ceste plaine
Eventez ce séjour,
Ce pendant que j'ahanne
A mon blé que je vanne
A la chaleur du jour._

THE FUNERAL ODES OF THE DOG AND THE CAT.

Here are extracts from those two delightful and tender things to which allusion has already been made. The epitaphs upon his little dog and his little cat.

It was a character in this sad man to make little, humble, grotesque, pleasing images of grief; as it were, little idols of his goddess; and he fashioned them with an exquisite humour and affection. What animal of the sixteenth century lives so clearly as these two? None, I think, except some few in the pictures of the painters of the low countries.

I wish I had space to print both these threnodies in full, but they are somewhat long, and I must beg my reader to find them in the printed works of Du Bellay. It is well worth the pains of looking.

_THE DOG._

_Dessous ceste motte verte
De lis et roses couverte
Gist le petit Peloton
De qui le poil foleton
Frisoit d'une toyson blanche
Le doz, le ventre, et la hanche._

_Son exercice ordinaire
Estoit de japper et braire,
Courir en hault et en bas,
Et faire cent mille esbas,
Tous estranges et farouches,
Et n'avoit guerre qu'aux mousches,
Qui luy faisoient maint torment.
Mais Peloton dextrement

Leur rendoit bien la pareille:
Car se couchant sur l'oreille,
Finement il aguignoit
Quand quelqu'une le poingnoit:
Lors d'une habile soupplesse
Happant la mouche traistresse,
La serroit bien fort dedans,
Faisant accorder ses dens_

_Peloton ne caressoit,
Sinon ceulx qu'il cognoissoit,
Et n'eust pas voulu repaistre
D'autre main que de son maistre,
Qu'il alloit tousjours suyvant:
Quelquefois marchoit devant,
Faisant ne scay quelle feste
D'un gay branlement de teste._

_Mon Dieu, quel plaisir c'estoit,
Quand Peloton se grattoit,
Faisant tinter sa sonnette
Avec sa teste folette!
Quel plaisir, quand Peloton
Cheminoit sur un baston,
Ou coifé d'un petit linge,
Assis comme un petit singe,
Se tenoit mignardelet,
D'un maintien damoiselet!_

_Las, mais ce doulx passetemps
Ne nous dura pas long temps:
Car la mort ayant anvie
Sur l'ayse de nostre vie,
Envoya devers Pluton
Nostre petit Peloton,
Qui maintenant se pourmeine
Parmi ceste umbreuse plaine,
Dont nul ne revient vers nous._

_THE CAT_

_Pourquoy je suis tant esperdu
Ce n'est pas pour avoir perdu
Mes anneaux, mon argent, ma bource:
Et pourquoy est ce donc? pource
Que j'ay perdu depuis trois jours
Mon bien, mon plaisir, mes amours:
Et quoy? ô Souvenance greve
A peu que le cueur ne me creve
Quand j'en parle ou quand j'en ecris:
C'est Belaud, mon petit chat gris:
Belaud qui fust, paraventure
Le plus bel oeuvre que nature
Feit onc en matiere de chats:
C'etoit Belaud, la mort au rats
Belaud dont la beauté fut telle
Qu'elle est digne d'estre immortelle._

_Mon-dieu, quel passetemps c'estoit
Quand ce Belaud vire-voltoit
Follastre autour d'une pelote!
Quel plaisir, quand sa teste sotte
Suyvant sa queue en mille tours,
D'un rouet imitoit le cours!
Ou quand assis sur le derriere
Il s'en faisoit une jartiere,
Et monstrant l'estomac velu
De panne blanche crespelu,_

_Sembloit, tant sa trogne estoit bonne,
Quelque docteur de la Sorbonne!
Ou quand alors qu'on l'animoit,
A coups de patte il escrimoit,
Et puis appasoit sa cholere
Tout soudain qu'on luy faisoit chere._

_Belaud estoit mon cher mignon,
Belaud estoit mon compagnon
A la chambre, au lict, à la table,
Belaud estoit plus accointable
Que n'est un petit chien friand,
Et de nuict n'alloit point criand
Comme ces gros marcoux terribles,
En longs miaudemens horribles:
Aussi le petit mitouard
N'entra jamais en matouard:
Et en Belaud, quelle disgrâce!
De Belaud s'est perdue la race.
Que pleust a Dieu, petit Belon,
Qui j'eusse l'esprit assez bon,
De pouvoir en quelque beau style
Blasonner ta grace gentile,
D'un vers aussi mignard que toy:
Belaud, je te promets ma foy,
Que tu vivrois, tant que sur terre
Les chats aux rats feront la guerre._

MALHERBE.

The French Renaissance ended in the Classic. The fate of all that exuberance was to find order, and that chaos of generation settled down to the obedience of unchanging laws. This transition, which fixed, perhaps for ever, the nature of the French tongue, is bound up with the name of Malherbe.

When what the French have entitled "the great time," when the generation of Louis XIV looked back to find an origin for its majestic security in letters, it was in Malherbe that such an origin was discovered; he had tamed the wildness of the Renaissance, he had bent its vigour to an arrangement and a frame; by him first were explicitly declared those rules within which all his successors were content to be narrowed. The devotion to his memory is nowhere more exalted or more typically presented than in the famous cry--_enfin Malherbe vint_. His name carried with it a note of completion and of an end.

When the romantic revival of our own time sought for one mind on which to lay the burden of its anger, one hard master or pedant who could be made responsible for the drying up of the wells, Malherbe again was found. He became the butt of Hugo's splendid ridicule. He was the god of plaster that could not hear or speak or feel, but which fools had worshipped; a god easy to break to pieces. His austerity--for them without fullness--his meagre output, his solemn reiterated code of "perfect taste," moved them to a facile but intense aggression. He it was that had turned to fossil stone the living matter of the sixteenth century: He that had stifled and killed the spirit they attempted to recall.

This man so praised, so blamed, for such a quality, was yet exactly, year for year, the contemporary of Shakespeare, born earlier and dying later. No better example could be discovered of the contrast between the French and English tempers.

The Romantics, I say, believed that they had destroyed Malherbe and left the Classic a ruined, antiquated thing. They were in error. Victor Hugo himself, the leader, who most believed the classic to have become isolated and past, was yet, in spite of himself, constrained by it. Lamartine lived in it. After all the fantastic vagaries of mystics and realists and the rest, it is ruling to-day with increasing power, returning as indeed the permanent religion, the permanent policy, of the nation are also returning after a century of astounding adventures: for the Classic has in it something necessary to the character of the French people.

Consider what the Classic is and why all mighty civilisations have demanded and obtained some such hard, permanent and, as it were, sacred vehicle for the expression of their maturity.

Nations that have a long continuous memory of their own past, nations especially whose gods have suffered transformation, but never death, develop the somewhat unelastic wisdom of men in old age. They mistrust the taste of the moment. They know that things quite fresh and violent seem at first greater than they are: that such enthusiasm forms no lasting legacy for posterity. Their very ancient tradition gives them a thirst for whatever shall certainly remain. The rigid Classic satisfies that need.

Again, you will discover that those whose energy is too abundant seek for themselves by an instinct the necessary confines without which such energy is wasted--and wasted the more from its excess. They canalise for their own security a torrent which, undisciplined, would serve but to destroy. Such an instinct is apparent in every department of French life. To their jurisprudence the French have ever attempted to attach a code, to their politics the stone walls of a Constitution, or, at the least, of a fundamental theory. Their theology from Athanasius through St. Germanus to the modern strict defence against all "liberals" has glorified the unchanging. Every outburst of the interior fires in the history of Gaul has been followed by a rapid, plastic action which reduced to human use what might otherwise have crystallised into an amorphous lava. So the wild freedom of the twelfth century was captured to form the Monarchy, the University, the full Gothic of the thirteenth: so the Revolution permitted Napoleon and produced, not the visionary unstable grandeur of the Gironde, but the schools and laws and roads and set government we see to-day. So the spring storms of the Renaissance settled, I say, into that steady summer of stable form which has now for three hundred years dominated the literature of the country.

Caught on with this aspect of energy producing the Classic is the truth that energy alone can dare to be classical. Where the great currents of the soul run feebly a perpetual acceleration, whether by novelty or by extravagance, will be demanded; where they run full and heavy, then, under the restraint of form, they will but run more proudly and more strong. It is the flickering of life that fears hard rules in verse and may not feel the level classics of our Europe. Their rigidity is not that of marble; they are not dead. A human acquaintance with their sobriety soon fills us as we read. If we lie in the way of the giants who conceived them (let me say Corneille or the great Dryden), re-reading and further knowledge--especially a deeper experience of common life about us--reveal to us the steadfast life of these images; the eyes open, the lips might almost move; the statue descends and lives.

The man who imposed design and authority and unity upon the letters of his country, and who so closed the epoch with which I have been dealing, was singularly suited to his task. Observant, something of a stoic, uninspired; courageous, witty, a soldier; lucid, critical of method only, he corresponded to the movement which, all around him, was ushering in the Bourbons: the hardening of Goujon's and de l'Orme's luxuriance into the conventions of the great colonnades and the sombre immensity of the new palaces; the return of one national faith to a people weary of so many random quarrels; the mistrust of an ill-ordered squirearchy; the firm founding of a central government.

He was Norman. Right of that north whence the vigour, though not the inspiration, of the Renaissance had proceeded, and into which it returned. Caen gave him birth, and still remembers him. Normans still edit his works--and dedicate these books to the town which also bred Corneille. Norman, learned with that restrained but vigorous learning of the province, he was also of the province in his blood, for he came of one of those fixed families whose heads held great estates all round Falaise, and whose cadets branched off into chances abroad: one of the Boughtons, in Kent, is still "Boughton Malherbe[1]."

[Footnote 1: Not from the Conquest. It is near Charing, originally de Braose land, but an heiress married a Malherbe in the early twelfth century.]

He was poor. His father, who held one of those magistracies which the smaller nobility bought or inherited, had not known where to turn in the turmoil of the central century. In a moment of distress he called himself Huguenot when that party seemed to triumph, and Malherbe in anger against the apostasy went down south, a boy of nineteen, and fought as a soldier--but chiefly duels; for he loved that sport. He lay under a kind of protection from the great Catholic houses, though still poor, till in 1601--he was a man of forty-six--Henri IV heard of him. In all these years he had worked at the rule of poetry like an artisan, thinking of nothing else, not even of fame. Those who surrounded him took it for granted that he was a master critic--a sort of judge without appeal, but it was a very little provincial circle surrounding a very unimportant house in Provence. Thus, careless it seems of everything except that "form of language" which was with him a passion, like the academic or theological passions, he was astonished on coming to Paris in 1605 to discover how suited such a pre-occupation was to such a time, and how rapidly he became the first name in contemporary letters. Of men who poured out verse the age was satiated; of men who could seize the language at this turn in its fortune, fix it and give it rules, the age had no knowledge till he came: the age fastened upon him, and insisted upon making him a master.

A full twenty years from 1607 he governed the transformation, not of thought, for that he little changed, but of method and of expression. He decided what should be called the typical metres, the alternative of feminine and masculine in verse, the order of emphasis, the proportion of inversion tolerable, the propriety, the modernity, the archaism of words. It is a function to our time meaningless and futile: to such a period as that, indispensable and even noble. He interpreted and published the national sentiment upon this major thing, the architecture of letters. The power of his mind, tortured and insufficient in actual production, was supreme in putting forth clearly and finally that criticism which ran as an unspoken and obscure current of opinion in the mind of his age. This was his glory, and it was true.

His dryness was extraordinary. In a life of seventy-two years, during which he wrote and erased incessantly, he, the poet, wrote just so much verse as will fill in large type a little pocket volume of 250 pages; to be accurate, forty-three lines a year. Of this scraping and pumice stone in the mind a better example than his verse is to be found in his letters. A number remain. They might seem to be written by two different men! Half a dozen are models of that language he adored--they cost him, to our knowledge, many days--the rest are slipshod notes that any man might write, for he thought they would not survive, and, indeed, the majority of his editors have had the piety to suppress them.

No one will understand Malherbe who only hears of how, like a dusty workman, he cut and polished, and so fixed the new jewel of letters. In our less happy age the academic spirit is necessarily associated with a lethargic stupidity. In his it was not so. His force, by which this work was carried through, lay in a character of penetration. His face expresses it. His very keen and ready eyes, his high lifted brow, his sharp nose, and the few active lines of his cheek and forehead, the poise of his head, the disdain of his firm mouth, all build him back alive for us. His talk, which stammered in its volubility, was incessant and varied; his temper ready; his bodily command of gesture and definition perfect in old age: he was of good metal all those years.

Of his intense Toryism, his vivacity, his love of arms, his tenacity of perception, Racan gives us in his biography an admirable picture. Just before he died his son was killed in a duel--he, at seventy-two, desired passionately to kill the adversary. "Gambling," he said, "my pence of life against the gold of his twenty-five years." He had wit, and he hated well--hating men after death:

Here richly with ridiculous display
Killed by excess was Wormwood laid away,
While all of his acquaintance sneered and slanged,
I wept: for I had longed to see him hanged.

His zeal for his tongue was real. As he lay upon his death-bed making his confession after so vigorous a life, he heard his nurse say something to herself which sounded ungrammatical and, turning round from the priest, he put her right in a manner most violent and sudden. His confessor, startled, said: "The time is not relevant". "All times are relevant!" he answered, sinking back. "I will defend with my last breath the purity and grandeur of the French tongue."

To such a man the meaning of the solution at which his people had arrived after a century of civil war lay, above all, in their ancient religion. On that converged those deeper and more permanent things in his soul of which even his patriotism and his literary zeal were but the surface. In the expression of that final solution his verse, which was hardly that of a poet, rises high into poetry; under the heat and pressure of his faith, single lines here and there have crystallized into diamonds. By far the most vigorous of so many frigid odes is the battle cry addressed by him in old age to Louis XIII setting out against La Rochelle. He visited that siege, but had the misfortune to die a bare week before the fall of the city. The most powerful of his sonnets, or rather the only powerful one, is that in which he calls to Our Lord for vengeance against the men who killed his son. Catholicism in its every effect, political and personal, as it were literary too, possessed the man, so that in ending the types of the French Renaissance with him you see how the terms in which ultimately the French express themselves are and will remain religious. The last two lines of his most famous and most Catholic poem have about them just that sound which saves them, in spite of their too simple words, from falling into the vulgar commonplace of vague and creedless men. In writing them down one seems to be writing down the fate of the great century now tamed, alas! and ordered, as must be the violence of over-human things:--

Vouloir ce que Dieu veut est la seule Science
Qui nous met en repos.

EXTRACTS.

(_From the "Ode to Louis XIII setting out against La Rochelle,"
and the "Sonnet on his son's death."_)

It has been remarked that Malherbe in his most vigorous years deliberately employed the strength of his mind to the repression of emotion in his verse, and used it only to fashion, guide, control, and at last fix permanently the rules of the language. It is certainly true that as his bodily vigour declined, a certain unexpected anger and violence enters into his verse, to the great relief of us moderns: not to that of his contemporaries.

Of this feature in him, the two following extracts are sufficient proof. They were written, the first at the close of his seventy-second, the other at the entry of his seventy-third year. In each, something close to his heart was at issue, and in each he gives some vent--far more than had been his wont--to passion.

The first is a cry to Louis XIII to have done with the Huguenot. It was written to the camp before La Rochelle. I know of nothing in French literature which more expresses the intense current of national feeling against the nobility and rich townsmen who had attempted to warp the national tradition and who had re-introduced into French life the element which France works perpetually to throw out as un-European, ill-cultured and evil. Indeed, the reading of it is of more value to the comprehension of the national attitude than any set history you may read.

The second is in its way a thing equally religious and equally catholic. This call for vengeance to God was not only an expression of anger called forth by his son's death, it was also, and very largely, the effect of a reaction against the ethics of Geneva: an attack on the idolatry at once of meekness and of fatality which was to him so intolerable a corruption of the Christian religion.

There is some doubt as to whether it is his last work. I believe it to be so; but Blaise, in his excellent edition, prints the dull and unreadable ode to Lagade later, and ascribes it to the same year.

_ODE TO LOUIS XIII._

_Fais choir en sacrifice au démon de la France
Les fronts trop élevés de ces ames d'enfer;
Et n'épargne contre eux, pour notre délivrance,
Ni le feu ni le fer.

Assez de leurs complots l'infidèle malice
A nourri le désordre et la sédition:
Quitte le nom de Juste, ou fais voir ta justice
En leur punition.

Le centième décembre a les plaines ternies,
Et le centième avril les a peintes de fleurs,
Depuis que parmi nous leurs brutales manies
Ne causent que des pleurs.

Dans toutes les fureurs des siècles de tes pères,
Les monstres les plus noirs firent-ils jamais rien
Que l'inhumanité de ces coeurs de vipères
Ne renouvelle au tien?

Par qui sont aujourd'hui tant de villes désertes,
Tant de grands bâtiments en masures changes,
Et de tant de chardons les campagnes couvertes,
Que par ces enrages?

Marche, va les détruire, éteins-en la semence,
Et suis jusqu'à leur fin ton courroux généreux,
Sans jamais écouter ni pitié ni clémence
Qui te parle pour eux.

Toutes les autres morts n'ont mérite ni marque;
Celle-ci porte seule un éclat radieux,
Qui fait revivre l'homme, et le met de la barque
A la table des dieux._

_SONNET ON HIS SON'S DEATH._

_Que mon fils ait perdu sa dépouille mortelle,
Ce fils qui fut si brave, et que j'aimai si fort,
Je ne l'impute point à l'injure du sort,
Puis que finir à l'homme est chose naturelle.

Mais que de deux marauds la surprise infidèle
Ait terminé ses jours d'une tragique mort,
En cela ma douleur n'a point de réconfort,
Et tous mes sentiments sont d'accord avec elle.

O mon Dieu, mon Sauveur, puisque, par la raison,
Le trouble de mon ame étant sans guérison,
Le voeu de la vengeance est un voeu légitime,

Fais que de ton appui je sois fortifié;
Ta justice t'en prie, et les auteurs du crime
Sont fils de ces bourreaux qui t'ont crucifié._

EXTRACTS FROM THE "CONSOLATION OF DU PERRIER."

These stanzas, which are among the best-known as they are, in the opinion of many, the dullest, in French literature, serve well to close this book.

One verse at least (the fourth) is most legitimately famous, though it is hackneyed from the constant repetition of fools. For the rest a certain simplicity, a great precision, may or may not atone for their deliberate coldness.

What is certain is that, poetry or not, they admirably express the spirit of his pen and its prodigious effect. They express the classical end of the French Renaissance with as much weight and hardness as the great blank walls of stone that were beginning to show in the rebuilding of Paris. It is for this quality that I have printed them here, using them as the definite term of that long, glorious, and uncertain phase in European letters.

_THE "CONSOLATION OF DU PERRIER."_

_Ta douleur, du Perrier, sera donc éternelle?
Et les tristes discours
Que te met en l'esprit l'amitié paternelle
L'augmenteront toujours?_

_Le malheur de ta fille au tombeau descendue
Par un commun trépas,
Est-ce quelque dédale où ta raison perdue
Ne se retrouve pas?_

_Je sais de quels appas son enfance étoit pleine,
Et n'ai pas entrepris,
Injurieux ami, de soulager ta peine
Avecque son mépris._

_Mais elle étoit du monde, où les plus belles choses
Ont le pire destin;
Et rose elle a vécu ce que vivent les roses
L'espace d'un matin._

_Puis quand ainsi seroit que, selon ta prière,
Elle auroit obtenu
D'avoir en cheveux blancs terminé sa carrière,
Qu'en fût-il avenu?_

_Penses-tu que, plus vieille, en la maison céleste
Elle eût eu plus d'accueil,
Ou qu'elle eût moins senti la poussière funeste
Et les vers du cercueil?_

_De moi, déja deux fois d'une pareille foudre
Je me suis vu perclus;
Et deux fois la raison m'a si bien fait résoudre,
Qu'il ne m'en souvient plus._

_Non qu'il ne me soit mal que la tombe posséde
Ce qui me fut si cher;
Mais en un accident qui n'a point de reméde,
Il n'en faut point chercher._

_La Mort a des rigueurs à nulle autre pareilles:
On a beau la prier;
La cruelle qu'elle est se bouche les oreilles,
Et nous laisse crier._

_Le pauvre en sa cabane, où le chaume le couvre,
Est sujet à ses lois;
Et la garde qui veille aux barrières du Louvre
N'en défend point nos rois._

_De murmurer contre elle et perdre patience,
Il est mal à propos;
Vouloir ce que Dieu veut est la seule science
Qui nous met en repos._

"_Vouloir ce que Dieu veut est la seule science
Qui nous met en repos._"

NOTES.

CHARLES OF ORLEANS.

THE COMPLAINT.

Line 5. _Prins._ An inaccurate pedantic past participle of _prendre_.

Line 14. _Faulse._ There is to be noted here and elsewhere throughout these extracts, until the modern spelling at the close of the period, the redundant "l" in many words. It was an effect of pure pedantry. The latin "l" had become _u_ in northern French. _Falsa_ made, naturally, "Fausse." The partial learning of the later middle ages reintroduced an "l" which was not known to be transformed, but was thought omitted.

Line 24. _Liesse._ One of the commonest words of this epoch, lost to modern French. It means joy=_laetitia_.

Line 25. Note the gender of "Amour," feminine even in the singular throughout the middle ages and renaissance--right up to the seventeenth century.

THE TWO ROUNDELS OF SPRING.