_Il chantait la grande massue Et la jument de Gargantue, Le grand Panurge et le jais Des papimanes ebahis, Leurs loix, leurs facons et demeures Et Frere Jean des Antonneures. Et d'Espisteme les combas. Mais la Mort qui ne boivoit pas Tira le beuveur de ce monde Et ores le fait boire de l'onde Du large fleuve d'Acheron._ "MIGNONNE ALLONS VOIR SI LA ROSE." (_The 17th Ode of the First Book._) "In these eighteen lines," says very modernly a principal critic, "lies Ronsard's fame more surely than in all the remaining mass of his works." He condemns by implication Ronsard's wide waste of power; but the few other poems that I have here had room to print, should make the reader careful of such judgements. It is true that in the great hoard which Ronsard left his people there are separate and particular jewels set in the copper and the gold, but the jewels are very numerous: indeed it was almost impossible to choose so few as I have printed here. If it be asked why this should have become the most famous, no answer can be given save the "flavour of language." It is the perfection of his tongue. Its rhythm reaches the exact limit of change which a simple metre will tolerate: where it saddens, a lengthy hesitation at the opening of the seventh line introduces a new cadence, a lengthy lingering upon the last syllables of the tenth, eleventh and twelfth closes a grave complaint. So, also by an effect of quantities, the last six lines rise out of melancholy into their proper character of appeal and vivacity: an exhortation. Certainly those who are so unfamiliar with French poetry as not to know that its whole power depends upon an extreme subtlety of rhythm, may find here the principal example of the quality they have missed. Something much less weighty than the stress of English lines, a just perceptible difference between nearly equal syllables, marks the excellent from the intolerable in French prosody: and to feel this truth in the eighteen lines that follow it is necessary to read them virtually in the modern manner--for the "s" in "vespree" or "vostre" were pedantries in the sixteenth century--but one must give the mute "e's" throughout as full a value as they have in singing. Indeed, reading this poem, one sees how it must have been composed to some good and simple air in the man's head. If the limits of a page permitted it, I would also show how worthy the thing was of fame from its pure and careful choice of verb--"Tandis que vostre age _fleuronne_"--but space prevents me, luckily, for all this is like splitting a diamond. "_MIGNONNE ALLONS VOIR SI LA ROSE._" _Mignonne, allons voir si la rose Qui ce matin avoit desclose Sa robe de pourpre au soleil A point perdu ceste vespree Les plis de sa robe pourpree Et son teint au vostre pareil_