Thoreau's theory, in short, was one thing and himself another: of the first, the reader will find what I believe to be a pretty faithful statement and a fairly just criticism in the study; of the second he will find but a contorted shadow. So much of the man as fitted nicely with his doctrines, in the photographer's phrase, came out. But that large part which lay outside and beyond, for which he had found or sought no formula, on which perhaps his philosophy even looked askance, is wanting in my study, as it was wanting in the guide I followed. In some ways a less serious writer, in all ways a nobler man, the true Thoreau still remains to be depicted. VILLON. I am tempted to regret that I ever wrote on this subject, not merely because the paper strikes me as too picturesque by half, but because I regarded Villon as a bad fellow. Others still think well of him, and can find beautiful and human traits where I saw nothing but artistic evil; and by the principle of the art, those should have written of the man, and not I. Where you see no good, silence is the best. Though this penitence comes too late, it may be well, at least, to give it expression. The spirit of Villon is still living in the literature of France. Fat Peg is oddly of a piece with the work of Zola, the Goncourts, and the infinitely greater Flaubert; and, while similar in ugliness, still surpasses them in a native power. The old author, breaking with an _eclat de voix_ out of his tongue-tied century, has not yet been touched on his own ground, and still gives us the most vivid and shocking impression of reality. Even if that were not worth doing at all, it would be worth doing as well as he has done it; for the pleasure we take in the author's skill repays us, or at least reconciles us to the baseness of his attitude. Fat Peg (_La Grosse Margot_) is typical of much; it is a piece of experience that has nowhere else been rendered into literature; and a kind of gratitude for the author's plainness mingles, as we read, with the nausea proper to the business. I shall quote here a verse of an old student's song; worth laying side by side with Villon's startling ballade. This singer, also, had an unworthy mistress, but he did not choose to share the wages of dishonour; and it is thus, with both wit and pathos, that he laments her fall:-- Nunc plango florem AEtatis tenerae Nitidiorem Veneris sidere: Tunc columbinam Mentis dulcedinem, Nunc serpentinam Amaritudinem. Verbo rogantes Removes ostio, Munera dantes Foves cubiculo, Illos abire praecipis A quibus nihil accipis, Caecos claudosque recipis, Viros illustres decipis Cum melle venenosa.[1] But our illustrious writer of ballades it was unnecessary to deceive; it was the flight of beauty alone, not that of honesty or honour, that he lamented in his song; and the nameless mediaeval vagabond has the best of the comparison.