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An essay by Hilaire Belloc |
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Clement Marot |
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Title: Clement Marot Author: Hilaire Belloc [More Titles by Belloc] If in Charles of Orleans the first note of the French Renaissance is heard, if in Villon you find first its energy appearing above ground, yet both are forerunners only. With Marot one is in the full tide of the movement. The discovery of America had preceded his birth by three or perhaps four years. His early manhood was filled with all that ferment, all that enormous branching out of human life, which was connected with the expansion of Spain; he was in the midst of the scarlet and the gold. A man just of age when Luther was first condemned, living his active manhood through the experience of the great battlefields in Italy, wounded (a valet rather than a soldier) at Pavia, the perpetual chorus of Francis I., privileged to witness the first stroke of the pickaxe against the mediaeval Louvre, and to see the first Italian dignity of the great stone houses on the Loire--being all this, the Renaissance was the stuff on which his life was worked. His blood and descent were typical enough of the work he had to do. His own father was one of the last set rhymers of the dying Middle Ages. All his boyhood was passed among that multitude of little dry "writers-down of verse" with which, in Paris, the Middle Ages died; they were not a swarm, for they were not living; they were a heap of dust. All his early work is touched with the learned, tedious, unbeautiful industry which was all that the elder men round Louis XII could bring to letters. By a happy accident there were mixed in him, however, two vigorous springs of inspiration, each ready to receive the new forces that were working in Europe, each destined to take the fullest advantage of the new time. These springs were first, learned Normandy, quiet, legal, well-founded, deep in grass, wealthy; and secondly, the arid brilliancy of the South: Quency and the country round Cahors. His father was a Norman pure bred, who had come down and married into that sharp land where the summer is the note of the whole year, and where the traveller chiefly remembers vineyards, lizards on the walls, short shadows, sleep at noon, and blinding roads of dust. The first years of his childhood were spent in the southern town, so that the south entered into him thoroughly. The language that he never wrote, the Languedoc, was that, perhaps, in which he thought during all his life. It was his mother's. It has been noticed by all his modern readers, it will be noticed probably with peculiar force by English readers, that the fame of Marot during his lifetime and his historical position as the leader of the Renaissance has in it something exaggerated and false. One cannot help a perpetual doubt as to whether the religious quarrel, the influence of the Court, the strong personal friendships and enmities which surrounded him had not had more to do with his reputation than his faculty, or even his genius, for rhyme. Whenever he wanted L100 he asked it of the King with the grave promise that he would bestow upon him immortality. From Ronsard, or from Du Bellay, we, here in the north, could understand that phrase; from Marot it carries a flavour of the grotesque. Ready song, indeed, and a great power over the material one uses in singing last indefinitely; they last as long as the sublime or the terrible in literature, but we forbear to associate with them--perhaps unjustly--the conception of greatness. If indeed anyone were to maintain that Marot was not an excellent and admirable poet he would prove himself ignorant of the language in which Marot wrote, but let the most sympathetic turn to what is best in his verse, let them turn for instance to that charming lyric: "A sa Dame Malade" or to "The Ballad of Old Time," or even to that really large and riotous chorus of the vine, and they will see that it is the kind of thing which is amplified by music, and which sometimes demands the aid of music to appear at all. They will see quite plainly that Marot took pleasure in playing with words and arranged them well, felt keenly and happily, played a full lyre, but they will doubt whether poetry was necessarily for him the most serious business of life. Why, then, has he taken the place claimed for him, and why is he firmly secure in the place of master of the ceremonies, as it were, to that glorious century whose dawn he enjoyed and helped to beautify? I will explain it. It is because he is national. He represents not what is most this, or most that--"highest", "noblest", "truest", "best", and all the rest of it--in his countrymen, but rather what they have most in common. Did you meet him to-day in the Strand you would know at once that you had to do with a Frenchman, and, probably, with a kind of poet. He was short, square in the shoulders, tending in middle age to fatness. A dark hair and beard; large brown eyes of the south; a great, rounded, wrinkled forehead like Verlaine's; a happy mouth, a nose very insignificant, completed him. When we meet somewhere, under cypress trees at last, these great poets of a better age, and find Ronsard a very happy man, Du Bellay, a gentleman; then Malherbe, for all that he was a northerner, we may mistake, if we find him, for a Catalonian. Villon, however Parisian, will appear the Bohemian that many cities have produced; Charles of Orleans may seem at first but one of that very high nobility remnants of which are still to be discovered in Europe. But when we see Marot, our first thought will certainly be, as I have said, that we have come across a Frenchman; and the more French for a touch of the commonplace. See how French was the whole career! Whatever is new attracts him. The reformation attracts him. It was _chic_ to have to do with these new things. He had the French ignorance of what was foreign and alien; the French curiosity to meddle with it because it had come from abroad; the French passion for opposing, for struggling;--and beneath it all the large French indifference to the problem of evil (or whatever you like to call it), the changeless French content in certitude, upon which ease, indeed, as upon a rock, the Church of Gaul has permanently stood and will continuously repose. He has been a sore puzzle to the men who have never heard of these things. Calvin (that appalling exception who had nothing in him of France except lucidity) could make neither head nor tail of him. Geneva was glad enough to chaunt through the nose his translations of the Psalms, but it was woefully puzzled at his salacity, and the town was very soon too hot to hold him in his exile. And as for the common, partial, and ignorant histories of France, written in our tongue, they generally make him a kind of backslider, who might have been a Huguenot (and--who knows?--have thrown the Sacrament to beasts with the best of them) save that, unhappily, he did not persevere. Whatever they say of him (and some have hardly heard of him) one thing is quite certain: that they do not understand him, and that if they did they would like him still less than they do. He was national in the rapidity of the gesture of his mind as in that of his body: in his being attracted here and there, watching this and that suddenly, like a bird. He was national in his power of sharp recovery from any emotion back into his normal balance. He was national in that he depended upon companions, and stood for a crowd, and deplored all isolation. He was national in that he had nothing strenuous about him, and that he was amiable, and if he had heard of "earnest" men, he would have laughed at them a little, as people who did not see the whole of life. He was especially national (and it is here that the poet returns) in that most national of all things--a complete sympathy with the atmosphere of the native tongue. Thus men debate a good deal upon the poetic value of Wordsworth, but it is certain, when one sees how bathed he is in the sense of English words, their harmony and balance, that the man is entirely English, that no other nation could have produced him, and that he will be most difficult for foreigners to understand. You will not translate into French or any other language the simplicity of: "Glimpses that should make me less forlorn." Nor can you translate, so as to give its own kind of grandeur "Et arrivoit pour benistre la vigne." Apart from his place in letters, see how national he is in what he does! He buys two bits of land, he talks of them continually, sees to them, visits them. They are quite little bits of land. He calls one Clement, and the other Marot! Here is a whimsicality you would not find, I think, among another people. He has the hatred of "sprawling" in his particular art which is the chief aesthetic character of the French; but he has the tendency to excess in opinion or in general expression which is their chief political fault. It is thus, then, that I think he should be regarded and that I would desire to present him. It is thus, I am sure, that he should be read if one is to know why he has taken so great a place in the reverence and the history of the French people. And it is in this aspect that he may worthily introduce much greater things, the Pleiade and Ronsard.
OF COURTING LONG AGO.
_OF COURTING LONG AGO._ _Au bon vieulx temps un train d'amour regnoit, _Et si, par cas, a jouyr on venoit, _Or est perdu ce qu'amour ordonnoit,
NOEL.
In these little things of Marot, which are neither learned (and he boasted of learning) nor set and dry (and his friends especially praised his precision), a great poet certainly appears--in short revelations, but still appears. Unfortunately there are not enough of them. That he thought "like a Southerner," as I have maintained and as I shall show by a further example, is made the more probable from the value he lends to the feminine e. The excellent rhythm of this poem you will only get by giving the feminine e the value of a drawn out syllable:
As for the spirit of it--God bless him!--it is a subject for perpetual merriment to think of such a man's being taken for a true Huguenot and enmeshed, even for a while, in the nasty cobweb of Geneva. But in the last thing I shall quote, when he is Bacchic for the vine, you will see it still more. _Une pastourelle gentille _Te souvient-il plus du prophete
TWO EPIGRAMS. These two epigrams are again but examples of the readiness, the wit, the hard surface of Marot, and they needed no more poetry than was in Voltaire or Swift, but they needed style. It was this absolute and standard style which his contemporaries chiefly remarked in him: the marvel was, that being mainly such an epigrammatist and scholar, and praised and supported only in that guise, he should have carried in him any, or rather so much, fire. The first was his reply to a Dixaine the king's sister had sent him. The second explains itself.
_TWO EPIGRAMS._ _Mes creanciers, qui de dixains n'ont cure,
_Paris, tu m'as faict maints alarmes,
It is the way this is printed that makes some miss its value. It is, like all the best he wrote, a song; it needs the varying time of human expression, the effect of tone, the repose and the re-lifting of musical notes; illuminated thus it greatly charmed, and if any one would know the order of such a tune, why, it should follow the punctuation: a cessation at the third line; a rise of rapid accents to the thirteenth, and then a change; the last three lines of the whole very much fuller and strong. So I would hear it sung on a winter evening in an old house in Auvergne, and re-enter the sixteenth century as I heard. _Ma mignonne,
THE VINEYARD SONG.
It is a tapestry of the Renaissance; the jolly gods of the Renaissance, the old gods grown Catholic moving across a happier stage. Bacchus in long robes and with solemnity blessing the vine, Silenus and the hobbling smith who smithied the Serpe, the Holy Vineyard Knife in heaven, all these by their diction and their flavour recall the Autumn in Herault and the grapes under a pure sky, pale at the horizon, and labourers and their carts in the vineyard, and these set in the frame of that great time when Saturn did return. All the poem is wine. It catches its rhymes and weaves them in and in, and moves rapid and careless in a fugue, like the march from Asia when the Panthers went before and drew the car. The internal rhythm and pulse is the clapping of hands in barns at evening and the peasants' feet dancing freely on the beaten earth. It is a very good song; it remembers the treading of the grapes and is refreshed by the mists that rise at evening when the labour is done. _Changeons propos, c'est trop chante d'amours, _Le dieu Vulcain, forgeron des haults dieux, _Bacchus alors chappeau de treille avoit,
OF COURTING LONG AGO. Line 11. _Fainctz_=sham; "_changes_" is simply like the English "changes": the form survives in the idiom: "donner le change." Line 13. _Refonde_=recast.
NOEL. Line 10. _Noe._ The tendency to drop final letters, especially the _l_, is very marked in popular patois, and this is, of course, a song based on popular language. Most French peasants north of the Loire would still say "Noe" for "Noel." _Noel_ is, of course, _Natalem_ (diem). Verse 2, line 2. _Cas de si hault faict_=so great a matter.
TWO EPIGRAMS. Epigram 1, line 2. _Vostre._ Marguerite of Navarre. As I have remarked, in the text, she had sent him a Dixaine (some say he wrote it himself). This one is written in answer.--_Ay._ Note, till the verb grew over simple in the classical French of the seventeenth century there was no more need for the pronoun than in Latin. Thus Montaigne will omit the pronoun, but Malherbe never. Line 5. _Cuydans_=thinking (_Cogitare_=_Cogtare_=_Coyde_=_cuider_, the _oi_ became _ui_ by a common transition; _cf._ noctem, octem, noit, nuit, huit.) The word is now archaic. Line 9. _Encor._ Without the final e. This is not archaic but poetic licence. _Encore_="hanc horam," and a post tonic "am" in Latin always means a final mute e in French. Epigram 2, line 1. _Maint_ (now archaic) is a word of Teutonic origin, our _many_. Line 6. _Coulpe_=Culpam, of course; a fault. Line 9. _Emport_. Note the old subjunctive without the final e. _Vide supra_, on "_Chant_." The modern usage is incorrect. For the first conjugation making its subjunctive in _em_, should lose the final syllable in French: a post tonic _em_ always disappears. The modern habit of putting a final e to all subjunctives is due to a false analogy with verbs from the third conjugation. These made their subjunctive in _am_, a termination which properly becomes the mute e of French.
TO HIS LADY IN SICKNESS. Line 14, 15. _Friande de la bouche_, glutton. Line 17. _Danger._ The first meaning of "Danger" is simply "to be in lordship" (Dominicarium). The modern is the English "Danger." This is between the two; "held to your hurt." Line 26. _Doint._ This subjunctive should properly be _don_ (_donem_, post tonic _em_ is lost). The "oint" is from a false analogy with the fourth conjugation, as though the Latin had been _doniam_.
THE VINEYARD SONG. Line 5. So are these diminutions all made up at random, as southern as can be, and note the tang of the verse, fit for a snapping of the fingers to mark the rapid time. Verse 3, line 2. _Benistre._ The older form of _benir_ from _Benedicere_; the _c_ between vowels at the end of the tonic syllable becomes _s_: the _t_ is added for euphony, to help one to pronounce the _s_. Line 3. _Silenus_ for _Silene_. Because the name was new, the Latin form is kept. The genius of the French, unlike that of modern English, is to absorb a foreign name (as we did once). Thus once we said "Anthony" "Tully": but Montaigne wrote "Cicero"--his descendants say "Ciceron." Line 4. _Aussi droict qu'une ligne_="right out of the flask." The flask held above one and the wine poured straight into the mouth. The happy south still know the way. Line 5. _Bigne_: a lump, a knock, a bruise. Line 6. _Guigne_=cherry. [The end] GO TO TOP OF SCREEN |