Something of the same sort may be said of all the writers in verse of the first half of the century. Their importance is chiefly relative. Few of their works are conceived or executed on a scale sufficient to entitle them to the rank of great poets, and, saving always Marot, the excellence even of the trifling compositions to which they confined themselves is very unequal and intermittent. But all are evidences of a general diffusion of the literary spirit among the people of France, and most of them in their way, and according to their powers, helped in perfecting the character of French as a literary instrument. The advance which the language experienced in this respect is perhaps nowhere better shown than in the miscellaneous and popular poetry of the time, a vast collection of which has been made accessible by the reprinting of rare or unique printed originals in the thirteen volumes of MM. de Montaiglon and de Rothschild's _Anciennes Poesies Francaises_, published in the _Bibliotheque Elzevirienne_[176]. This flying literature, as it is well called in French, lacks in most cases the freshness and spontaneity of mediaeval folk-song. But it has in exchange gained in point of subject a wide extension of range, and in point of form a considerable advance in elegance of language, absence of commonplace, and perfection of literary form and style. The stiffness which characterises much mediaeval and almost all fifteenth-century work has disappeared in great measure. The writers speak directly and to the point, and find no difficulty in so using their mother tongue as to express their intentions. The tools in short are more effective and more completely under the control of the worker. A certain triviality is indeed noticeable, and the tendency of the middle ages to perpetuate favourite forms and models is by no means got rid of. But much that was useless has been discarded, and of what is left a defter and more distinctly literary use is made. Had French remained as Marot left it, it would indeed have been unequal to the expression of the noblest thoughts, the gravest subjects, to the treatment and exposition of intricate and complicated problems of life and mind. But in his hands it attained perhaps the perfection of usefulness as an exponent of the pure _esprit gaulois_, to use a phrase which has been tediously abused by French writers, but which is expressive of a real fact in French history and French literature. It had been suppled and pointed: it remained for it to be weighted, strengthened, and enriched. This was not the appointed task of Marot and his contemporaries, but of the men who came after them. But what they themselves had to do they did, and did it well. To this day the lighter verse of France is more an echo of Clement Marot than of any other man who lived before the seventeenth century, and, with the exception of his greater follower, La Fontaine, of any man who came after him at any time[177]. FOOTNOTES: