But the next year he was once more in danger on the old charge of heresy, and was again rescued from the _chats fourres_ by Marguerite. He had already edited the _Roman de la Rose_, but no regular edition of his own work had appeared. In 1533 came out not merely his edition of Villon, but a collection of his own youthful work under the pretty title _Adolescence Clementine_. In 1535 the Parliament of Paris for a fourth time molested Marot. Marguerite's influence was now insufficient to protect him, and the poet fled first to Bearn and then to Ferrara. Here, under the protection of Renee de France, he lived and wrote for some time, but the persecution again grew hot. He retired to Venice, but in 1539 obtained permission to return to France. Francis gave him a house in the Faubourg Saint Germain, and here apparently he wrote his famous Psalms, which had an immense popularity; these the Sorbonne condemned, and Marot once more fled, this time to Geneva. He found this place an uncomfortable sojourn, and crossed the Alps into Piedmont, where, not long afterwards, he died in 1544. Marot's work is sufficiently diverse in form, but the classification of it adopted in the convenient edition of Jannet is perhaps the best, though it neglects chronology. There are some dozen pieces of more or less considerable length, among which may specially be mentioned _Le Temple de Cupido_, an early work of _rhetoriqueur_ character for the most part, in dizains of ten and eight syllables alternately, a Dialogue of two Lovers, an Eclogue to the King; _L'Enfer_, a vigorous and picturesque description of his imprisonment in the Chatelet, and some poems bearing a strong Huguenot impression. Then come sixty-five epistles written in couplets for the most part decasyllabic. These include the celebrated _Coq-a-l'Ane_, a sort of nonsense-verse, with a satirical tendency, which derives from the mediaeval _fatrasie_, and was very popular and much imitated. Another mediaeval restoration of Marot's, also very popular and also much imitated, was the _blason_, a description, in octosyllables. Twenty-six elegies likewise adopt the couplet, and show, as do the epistles, remarkable power over that form. Fifteen ballades, twenty-two songs in various metres, eighty-two rondeaux, and forty-two songs for music, contain much of Marot's most beautiful work. His easy graceful style escaped the chief danger of these artificial forms, the danger of stiffness and monotony; while he was able to get out of them as much pathos and melody as any other French poet, except Charles d'Orleans and Villon. Numerous _etrennes_ recall the _Xenia_ of Martial, and funeral poems of various lengths and styles follow. Then we have nearly three hundred epigrams, many of them excellent in point and elegance, a certain number of translations, the Psalms, fifty in number, certain prayers, and two versified renderings of Erasmus' _Colloquies_.