Bibliothèque de la meilleure littérature du monde, ancienne et moderne . son naigh- J , , , , , ,, Pierre Ronsard bors dans la littérature et l'art, s'était mis à les rivaliser. Depuis l'apparition de l'< Roman de la Rose* en 1310, il y avait peu de note dans la littérature française. Les feeblesingers des XIVe et XVe siècles, dont les voix ne pouvaient guère être entendues à travers la constante DIN de la guerre, en ont fait un grand exemple ; et il est difficile de dire si la pauvreté de leur invention, ou l'allégorie religieuse cachée sous ses platitudes senti-mentales, avait eu le plus grand pouvoir dans les pres

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Library of the world's best literature, ancient and modern . her neigh- J , , , , , Pierre Ronsard bors in literature and art, had set herself to rival them. Since the appearance of the < Roman de la Rose* in1310, there had been little of note in French literature. The feeblesingers of the fourteenth and fifteenth centuries, whose voices couldscarcely be heard through the constant din of war, made that poemtheir great example; and it is hard to say whether the poverty oftheir invention, or the religious allegory concealed beneath its senti-mental platitudes, had had the greater power in preserving it solong. Charles dOrleans, Francois Villon, and Clement Marot, hadalready sung the first chansons worthy of note since the < Roman dela Rose began to reign; and the gentil maistre Clementw was evennow sharing the captivity of his royal master at Pavia. Besides the usual causes that impede the production of greatpoems, we must take into account the transitions and imperfect con-dition of the French language at this time; the patronage of zealous. I2374 PIERRE RONSARD but ignorant princes; and more than all, the fact that in the recentrevival of learning, studious minds grasped at everything. Theymade no distinction between natural genius and acquired talents;and believed the development of poetry to be as much a matter ofperseverance as the development of physics, —a thing to be workedat like a sum in arithmetic. While, then, in France the learned were poring over classical dic-tionaries, and occasionally giving evidence of progress by a neat copyof Greek or Latin verses, the French language was suffering neglect.Noble words and phrases used by the Troubadours had dropped outaltogether; the writers of each half-century had to be translated bytheir successors before they could be understood. For the new musicthere must be new strings to the lyre; and two young poets, PierreRonsard and Joachim du Bellay, undertook the audacious task of re-constructing their native ton

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