It is in death that he finds his truest inspiration; in the swift and sorrowful change that overtakes beauty; in the strange revolution by which great fortunes and renowns are diminished to a handful of churchyard dust; and in the utter passing away of what was once lovable and mighty. It is in this that the mixed texture of his thought enables him to reach such poignant and terrible effects, and to enhance pity with ridicule, like a man cutting capers to a funeral march. It is in this also that he rises out of himself into the higher spheres of art. So, in the ballade by which he is best known, he rings the changes on names that once stood for beautiful and queenly women, and are now no more than letters and a legend. "Where are the snows of yester year?" runs the burden. And so, in another not so famous, he passes in review the different degrees of bygone men, from the holy Apostles and the golden Emperor of the East, down to the heralds, pursuivants, and trumpeters, who also bore their part in the world's pageantries and ate greedily at great folks' tables: all this to the refrain of "So much carry the winds away!" Probably, there was some melancholy in his mind for a yet lower grade, and Montigny and Colin de Cayeux clattering their bones on Paris gibbet. Alas, and with so pitiful an experience of life, Villon can offer us nothing but terror and lamentation about death! No one has ever more skilfully communicated his own disenchantment; no one ever blown a more ear-piercing note of sadness. This unrepentant thief can attain neither to Christian confidence nor to the spirit of the bright Greek saying, that whom the gods love die early. It is a poor heart, and a poorer age, that cannot accept the conditions of life with some heroic readiness. * * * * * The date of the "Large Testament" is the last date in the poet's biography. After having achieved that admirable and despicable performance, he disappears into the night from whence he came. How or when he died, whether decently in bed or trussed up to a gallows, remains a riddle for foolhardy commentators. It appears his health had suffered in the pit at Meun; he was thirty years of age and quite bald; with the notch in his under lip where Sermaise had struck him with the sword, and what wrinkles the reader may imagine. In default of portraits, that is all I have been able to piece together, and perhaps even the baldness should be taken as a figure of his destitution. A sinister dog, in all likelihood, but with a look in his eye, and the loose flexile mouth that goes with wit and an overweening sensual temperament. Certainly the sorriest figure on the rolls of fame. FOOTNOTES: [6] "Etude Biographique sur Francois Villon." Paris: H. Menu. [7] "Bourgeois de Paris," ed. Pantheon, pp. 688, 689. [8] "Bourgeois," pp. 627, 636, and 725. [9] "Chronique Scandaleuse," ed. Pantheon, p. 237. [10] Monstrelet: "Pantheon Litteraire," p. 26.