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According to the information given to M. Reydelet, we passed our Easter holidays at Bellay, and though not expected there, were received by the music master, and welcomed by every one with great pleasure. M. le Maitre was of considerable note in his profession, and, indeed, merited that distinction.
The work made a great noise; the Sorbonne resolved to attack it, in spite of the king's approbation; but Francis I. died on the 31st of March, 1547. Rabelais relapsed into his life of embarrassment and vagabondage; on leaving France he had recourse, first at Metz and afterwards in Italy, to the assistance of his old and ever well-disposed patron, Cardinal John Du Bellay.
It was called The Field of Cloth of Gold; and the courtiers who attended the two sovereigns felt bound to almost rival them in sumptuousness, "insomuch," says the contemporary Martin du Bellay, "that many bore thither their mills, their forests, and their meadows on their backs."
This portraiture was so bold the mouse appearing to have been the living image of Madame Diana, then present that the courtiers stood aghast. Queen Catherine smiled, but the king was in no laughing humour. But Rabelais went on without paying any attention to the winks of the Cardinal Bellay and de Chatillon, who were terrified for the good man.
The author of these "Études sur le Combat" was Colonel Ardent du Picq, who fell at the battle of Longeville-les-Metz, on August 15, 1870. He had predicted the calamity of that war, which he attributed to the mental decadence of the French army, and to the absence of any adequate General Staff organization. Ardent du Picq had received no encouragement from within or from without, and the reforms which he never ceased to advocate were treated as the dreams of an eccentric idealist. He died, unrecognized, without having lived to see carried out one of the reforms which he had so persistently advocated. His tongue was rough and his pen was dipped in acid; the military critic who ridiculed the "buffooneries" of his generals and charged his fellow-officers with trying to get through their day's work with as little trouble to themselves as possible, was not likely to carry much weight at the close of the Second Empire. But the scattered papers of the forgotten Colonel Ardent du Picq were preserved, and ten years after his death a portion of them was published. Every scrap which could be found of the work of so fruitful a military thinker was presently called for, and at the moment of the outbreak of the present war the "Études sur le Combat" had become the text-book of every punctilious young officer. It is still unknown how much of the magnificent effort of 1914 was not due to the shade of Ardent du Picq. Although the name of that author does not occur in the pages of "Ma Pièce," we are constrained to believe that Lintier had been, like so many young men of his class, an infatuated student of the "Études." He had comprehended the essence of military vitality and the secret of military grandeur. He had perceived the paramount importance of moral force in contending with formidable hostile organizations. Ardent du Picq, who possessed the skill of his nation in the manufacture of maxims, laid it down that "Vaincre, c'est d'être sûr de la victoire." He assented to the statement that it was a spiritual and not a mechanical ascendancy which had gained battles in the past and must gain them in the future. Very interesting it is to note, in the delicately scrupulous record of the mind and conscience of Paul Lintier, how, side by side with this uplifted patriotic confidence, the weakness of the flesh makes itself felt. At Tailly, full of the hope of coming battle, waiting in the moonlit forest for the sound of approaching German guns, suddenly the heroism drops from him, and he murmurs the plaintive verses of the old poet Joachim du Bellay to the echo of "Et je mourrai peut-être demain!" The delicate sureness with which he notes these changes of mood is admirable; and quickly the depression passes: "vite notre extraordinaire insouciance l'emporte, et puis, jamais heure a-t-elle été plus favorable
He was brought up by a brother only a little older than himself; and left to themselves, the two boys passed their lives in day-dreams of military glory. Their education was neglected; "The time of my youth," says Du Bellay, "was lost, like the flower which no shower waters, and no hand cultivates."
While a student at Pembroke Hall, Cambridge, he had translated some of the Visions of Petrarch, and the Visions of Bellay, a French poet, but it was only in 1579 that the publication of his Shepheard's Calendar announced the coming of a great original poet, the first since Chaucer. The Shepheard's Calendar was a pastoral in twelve eclogues one for each month in the year.
Then glancing at all the courtiers, who, with the exception of Messieurs du Bellay and Chatillon, considered him to be nothing but a learned merry-andrew, while he was really the king of all wits, and a far better king than he whose crown only the courtiers venerate, there came into the good man's head the malicious idea to philosophically pump over their heads, just as it pleased Gargantua to give the Parisians a bath from the turrets of Notre Dame, so he added
State Papers, Vol. VII. p. 579. Letter of Du Bellay in Legrand. Ibid. Sir Edward Karne and Dr. Revett to Henry VIII.: State Papers, Vol. VII. pp. 553, 554. State Papers, Vol. VII. p. 560, et seq.
By the year 1550 he was leading the young men of France in a great literary renaissance a reaction against the lifeless jingle of ballades and punning rhymes. Like du Bellay, he asked himself and his contemporaries: "Are we, then, less than the Greeks and Romans?" And he set out to lay the foundations in France of a literature as individual in its genius as the ancient classics.
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