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M. Longnon is almost ready to identify Catherine as the niece of Pierre; Regnier as the nephew of Etienne, and Colin as the son of Nicolas. Without going so far, it must be owned that the approximation of names is significant. As we go on to see the part played by each of these persons in the sordid melodrama of the poet's life, we shall come to regard it as even more notable.
Out of all Villon's works that ballad stands forth in flaring reality, gross and ghastly, as a thing written in a contraction of disgust. M. Longnon shows us more and more clearly at every page that we are to read our poet literally, that his names are the names of real persons, and the events he chronicles were actual events.
M. Longnon is almost ready to identify Catherine as the niece of Pierre; Regnier as the nephew of Etienne, and Colin as the son of Nicolas. Without going so far, it must be owned that the approximation of names is significant. As we go on to see the part played by each of these persons in the sordid melodrama of the poet's life, we shall come to regard it as even more notable.
In an article by the learned M. Longnon on L'Elément historique de Huon de Bordeaux, a note is given on the name of Guinemer: "In Huon de Bordeaux," writes M. Longnon, "the author of the Prologue des Lorrains makes Guinemer the son of Saint Bertin, second Abbot of Sithieu, an abbey which took the name of this blessed man and was the foundation of the city of Saint-Omer, which the poem of Huon de Bordeaux makes the birthplace of Count Guinemer's daughter.
Angry justice had, as it were, photographed him in the act of his homicide; and M. Longnon, rummaging among old deeds, has turned up the negative and printed it off for our instruction. Villon had been supping copiously we may believe and sat on a stone bench in front of the Church of St. Benoit, in company with a priest called Gilles and a woman of the name of Isabeau.
Out of all Villon's works that ballad stands forth in flaring reality, gross and ghastly, as a thing written in a contraction of disgust. M. Longnon shows us more and more clearly at every page that we are to read our poet literally, that his names are the names of real persons, and the events he chronicles were actual events.
Nay, it appears there was a further complication; for in the narrative of the first of these documents, it is mentioned that he passed himself off upon Fouquet, the barber-surgeon, as one Michel Mouton. M. Longnon has a theory that this unhappy accident with Sermaise was the cause of Villon's subsequent irregularities; and that up to that moment he had been the pink of good behaviour.
PERHAPS one of the most curious revolutions in literary history is the sudden bull's-eye light cast by M. Longnon on the obscure existence of Francois Villon. His book is not remarkable merely as a chapter of biography exhumed after four centuries.
Rich men furnished with ability, living peaceably in their habitations: All these were honoured in their generations and were the glory of their times. A. Raw Material The Roll of the Abbot Irminon, an estate book of the Abbey of St Germain des Prés, near Paris, written between 811 and 826. See Polyptyque de l'Abbaye de Saint-Germain des Prés, pub. Auguste Longnon, t. I, Introduction; t.
On June 5, 1455, when he was about twenty-four, and had been Master of Arts for a matter of three years, we behold him for the first time quite definitely. Angry justice had, as it were, photographed him in the act of his homicide; and M. Longnon, rummaging among old deeds, has turned up the negative and printed it off for our instruction.
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