Now who was this who, with perfect confidence, indulged in such proud language?  Was it a Homer, a Dante, a Corneille, one of those great poetical geniuses whose works can move a whole people, are addressed to all the world, and “will live forever”?  No; it was a poet of the court and of the fashionable world of Paris, of Blois, and of Amboise, in the sixteenth century, a groom-of-the-chamber to Marguerite de Valois, and one of Francis I.’s favorites, who had written elegies, eclogues, epistles, complaints, roundelays, and epigrams on the incidents and for his masters and mistresses of the hour; France owed to him none of those great poetical works consecrated to description of the grand destinies and grand passions of man, and to the future as well as to the writer’s own time.

[Illustration:  Clement Marot——­162]

Clemont Marot, the son of a petty burgess of Cahors, named John Marot, himself a poet in a small way, who had lived some time at the court of Louis XII., under the patronage of Queen Anne of Bretagne, had a right to style himself, “well born and nobly bred;” many of the petty burgesses of Cahors were of noble origin, and derived therefrom certain privileges; John Marot, by a frugal and regular life, had acquired and left to his son two estates in the neighborhood of Cahors, where, no doubt, Clement resided but little, for he lived almost constantly at the court, or wandering about Europe, in every place where at one time the fortunes of the king his protector and at another the storm of the nascent religious reform left him stranded willy-nilly.  He was present in 1525 at the battle of Pavia, where he was wounded and taken prisoner with his king, but soon released, since the Imperialists let go on easy terms gentlemen of whom it was impossible to make a rich booty.  From that time we do not meet any more with Clement Marot in war or politics; to Marguerite de Valois, to adventures of gallantry, and to success in his mundane line of poesy his life was thenceforth devoted.  The scandal of history has often been directed against his relations with his royal patroness; but there seems to be no real foundation for such a suspicion; the manners of the sixteenth century admitted of intimacies in language, and sometimes even of familiarities in procedure, contrasting strangely with demonstrations of the greatest respect, nay, humility.  Clement Marot was the king of poesy and set the fashion of wit in his time; Marguerite had a generous and a lively sympathy with wit, talent, success, renown; the princess and the poet were mutually pleased with and flattered one another; and the liberties allowed to sympathy and flattery were great at that time, but far less significant than they would be in our day.

What were the cause, the degree, and the real value of this success and this renown of which Clement Marot made so much parade, and for which his contemporaries gave him credit?  What change, what progress effected by him, during his lifetime, in French literature and the French language won for him the place he obtained and still holds in the opinion of the learned?