hardly be unjust to say that, given the difference of a century in point of ordinary progress, Charles d'Orleans is Marot's equal in elegance and grace, and his superior in sentiment, while Marot is not comparable to Villon in passion or in humour. His limitation, and at the same time his great merit, was that he was a typical Frenchman. A famous epigram, applied to another person two centuries later, might be applied with very little difficulty or alteration to Marot. He had more than anybody else of his time the literary characteristics which the ordinary literary Frenchman has. We constantly meet in the history of literature this contrast between the men who are simply shining examples of the ordinary type, and men who cross and blend that type with new characters and excellences. Unquestionably the latter are the greater, but the former cannot on any equitable scheme miss their reward. It must be added that the positive merit of much of Marot's work is great, though, as a rule, his longer pieces are very inferior to his shorter. Many of the epigrams are admirable; the Psalms, which have been unjustly depreciated of late years by French critics, have a sober and solemn music, which is almost peculiar to the French devotional poetry of that age; the satirical ballade of _Frere Lubin_ is among the very best things of its kind; while as much may be said of the rondeaux 'Dedans Paris' in the lighter style, and 'En la Baisant' in the graver. Perhaps the famous line-- Un doux nenny avec un doux sourire, supposed to have been addressed to the Queen of Navarre, expresses Marot's poetical powers as well as anything else, showing as it does grace of language, tender and elegant sentiment, and suppleness, ease, and fluency of style. [Sidenote: The School of Marot.]