As a poet Du Bellay had
the start, by a few mouths, of Ronsard; his Recueil was published
in 1549. The question of priority in the new style of poetry
caused a quarrel, which did not long separate the two singers. Du
Bellay is perhaps the most interesting of the Pleiad, that company
of Seven, who attempted to reform French verse, by inspiring it
with the enthusiasm of the Renaissance. His book L'Illustration de
la langue Francaise is a plea for the study of ancient models and
for the improvement of the vernacular. In this effort Du Bellay
and Ronsard are the predecessors of Malherbe, and of Andre Chenier,
more successful through their frank eagerness than the former, less
fortunate in the possession of critical learning and appreciative
taste than the latter. There is something in Du Bellay's life, in
the artistic nature checked by occupation in affairs--he was the
secretary of Cardinal Du Bellay--in the regret and affection with
which Rome depressed and allured him, which reminds the English
reader of the thwarted career of Clough.
IV. REMY BELLEAU, 1528-1577. Du Belleau's life was spent in the
household of Charles de Lorraine, Marquis d'Elboeuf, and was marked
by nothing more eventful than the usual pilgrimage to Italy, the
sacred land and sepulchre of art.
V. PIERRE RONSARD, 1524-1585. Ronsard's early years gave little
sign of his vocation.
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