(1) BOURGEOIS, pp. 627, 636, and 725.

The educational arrangements of the University of Paris were, to our way of thinking, somewhat incomplete. Worldly and monkish elements were presented in a curious confusion, which the youth might disentangle for himself. If he had an opportunity, on the one hand, of acquiring much hair-drawn divinity and a taste for formal disputation, he was put in the way of much gross and flaunting vice upon the other. The lecture room of a scholastic doctor was sometimes under the same roof with establishments of a very different and peculiarly unedifying order. The students had extraordinary privileges, which by all accounts they abused extraordinarily. And while some condemned themselves to an almost sepulchral regularity and seclusion, others fled the schools, swaggered in the street "with their thumbs in their girdle," passed the night in riot, and behaved themselves as the worthy forerunners of Jehan Frollo in the romance of NOTRE DAME DE PARIS. Villon tells us himself that he was among the truants, but we hardly needed his avowal. The burlesque erudition in which he sometimes indulged implies no more than the merest smattering of knowledge; whereas his acquaintance with blackguard haunts and industries could only have been acquired by early and consistent impiety and idleness. He passed his degrees, it is true; but some of us who have been to modern universities will make their own reflections on the value of the test. As for his three pupils, Colin Laurent, Girard Gossouyn, and Jehan Marceau - if they were really his pupils in any serious sense - what can we say but God help them! And sure enough, by his own description, they turned out as ragged, rowdy, and ignorant as was to be looked for from the views and manners of their rare preceptor.

At some time or other, before or during his university career, the poet was adopted by Master Guillaume de Villon, chaplain of Saint Benoit-le-Betourne near the Sorbonne. From him he borrowed the surname by which he is known to posterity. It was most likely from his house, called the PORTE ROUGE, and situated in a garden in the cloister of St. Benoit, that Master Francis heard the bell of the Sorbonne ring out the Angelus while he was finishing his SMALL TESTAMENT at Christmastide in 1546. Towards this benefactor he usually gets credit for a respectable display of gratitude. But with his trap and pitfall style of writing, it is easy to make too sure. His sentiments are about as much to be relied on as those of a professional beggar; and in this, as in so many other matters, he comes towards us whining and piping the eye, and goes off again with a whoop and his finger to his nose. Thus, he calls Guillaume de Villon his "more than father," thanks him with a great show of sincerity for having helped him out of many scrapes, and bequeaths him his portion of renown. But the portion of renown which belonged to a young thief, distinguished (if, at the period when he wrote this legacy, he was distinguished at all) for having written some more or less obscene and scurrilous ballads, must have been little fitted to gratify the self-respect or increase the reputation of a benevolent ecclesiastic. The same remark applies to a subsequent legacy of the poet's library, with specification of one work which was plainly neither decent nor devout. We are thus left on the horns of a dilemma. If the chaplain was a godly, philanthropic personage, who had tried to graft good principles and good behaviour on this wild slip of an adopted son, these jesting legacies would obviously cut him to the heart. The position of an adopted son towards his adoptive father is one full of delicacy; where a man lends his name he looks for great consideration. And this legacy of Villon's portion of renown may be taken as the mere fling of an unregenerate scapegrace who has wit enough to recognise in his own shame the readiest weapon of offence against a prosy benefactor's feelings. The gratitude of Master Francis figures, on this reading, as a frightful MINUS quantity. If, on the other hand, those jests were given and taken in good humour, the whole relation between the pair degenerates into the unedifying complicity of a debauched old chaplain and a witty and dissolute young scholar. At this rate the house with the red door may have rung with the most mundane minstrelsy; and it may have been below its roof that Villon, through a hole in the plaster, studied, as he tells us, the leisures of a rich ecclesiastic.

It was, perhaps, of some moment in the poet's life that he should have inhabited the cloister of Saint Benoit. Three of the most remarkable among his early acquaintances are Catherine de Vausselles, for whom he entertained a short- lived affection and an enduring and most unmanly resentment; Regnier de Montigny, a young blackguard of good birth; and Colin de Cayeux, a fellow with a marked aptitude for picking locks. Now we are on a foundation of mere conjecture, but it is at least curious to find that two of the canons of Saint Benoit answered respectively to the names of Pierre de Vaucel and Etienne de Montigny, and that there was a householder called Nicolas de Cayeux in a street - the Rue des Poirees - in the immediate neighbourhood of the cloister. 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. Is it not Clough who has remarked that, after all, everything lies in juxtaposition? Many a man's destiny has been settled by nothing apparently more grave than a pretty face on the opposite side of the street and a couple of bad companions round the corner.

Catherine de Vausselles (or de Vaucel - the change is within the limits of Villon's licence) had plainly delighted in the poet's conversation; near neighbours or not, they were much together and Villon made no secret of his court, and suffered himself to believe that his feeling was repaid in kind. This may have been an error from the first, or he may have estranged her by subsequent misconduct or temerity. One can easily imagine Villon an impatient wooer. One thing, at least, is sure: that the affair terminated in a manner bitterly humiliating to Master Francis. In presence of his lady-love, perhaps under her window and certainly with her connivance, he was unmercifully thrashed by one Noe le Joly - beaten, as he says himself, like dirty linen on the washing- board. It is characteristic that his malice had notably increased between the time when he wrote the SMALL TESTAMENT immediately on the back of the occurrence, and the time when he wrote the LARGE TESTAMENT five years after. On the latter occasion nothing is too bad for his "damsel with the twisted nose," as he calls her. She is spared neither hint nor accusation, and he tells his messenger to accost her with the vilest insults. Villon, it is thought, was out of Paris when these amenities escaped his pen; or perhaps the strong arm of Noe le Joly would have been again in requisition. So ends the love story, if love story it may properly be called. Poets are not necessarily fortunate in love; but they usually fall among more romantic circumstances and bear their disappointment with a better grace.

The neighbourhood of Regnier de Montigny and Colin de Cayeux was probably more influential on his after life than the contempt of Catherine. For a man who is greedy of all pleasures, and provided with little money and less dignity of character, we may prophesy a safe and speedy voyage downward. Humble or even truckling virtue may walk unspotted in this life. But only those who despise the pleasures can afford to despise the opinion of the world. A man of a strong, heady temperament, like Villon, is very differently tempted. His eyes lay hold on all provocations greedily, and his heart flames up at a look into imperious desire; he is snared and broached-to by anything and everything, from a pretty face to a piece of pastry in a cookshop window; he will drink the rinsing of the wine cup, stay the latest at the tavern party; tap at the lit windows, follow the sound of singing, and beat the whole neighbourhood for another reveller, as he goes reluctantly homeward; and grudge himself every hour of sleep as a black empty period in which he cannot follow after pleasure. Such a person is lost if he have not dignity, or, failing that, at least pride, which is its shadow and in many ways its substitute. Master Francis, I fancy, would follow his own eager instincts without much spiritual struggle. And we soon find him fallen among thieves in sober, literal earnest, and counting as acquaintances the most disreputable people he could lay his hands on: fellows who stole ducks in Paris Moat; sergeants of the criminal court, and archers of the watch; blackguards who slept at night under the butchers' stalls, and for whom the aforesaid archers peered about carefully with lanterns; Regnier de Montigny, Colin de Cayeux, and their crew, all bound on a favouring breeze towards the gallows; the disorderly abbess of Port Royal, who went about at fair time with soldiers and thieves, and conducted her abbey on the queerest principles, and most likely Perette Mauger, the great Paris receiver of stolen goods, not yet dreaming, poor woman! of the last scene of her career when Henry Cousin, executor of the high justice, shall bury her, alive and most reluctant, in front of the new Montigny gibbet. (1) Nay, our friend soon began to take a foremost rank in this society. He could string off verses, which is always an agreeable talent; and he could make himself useful in many other ways. The whole ragged army of Bohemia, and whosoever loved good cheer without at all loving to work and pay for it, are addressed in contemporary verses as the "Subjects of Francois Villon." He was a good genius to all hungry and unscrupulous persons; and became the hero of a whole legendary cycle of tavern tricks and cheateries. At best, these were doubtful levities, rather too thievish for a schoolboy, rather too gamesome for a thief. But he would not linger long in this equivocal border land. He must soon have complied with his surroundings. He was one who would go where the cannikin clinked, not caring who should pay; and from supping in the wolves' den, there is but a step to hunting with the pack. And here, as I am on the chapter of his degradation, I shall say all I mean to say about its darkest expression, and be done with it for good. Some charitable critics see no more than a JEU D'ESPRIT, a graceful and trifling exercise of the imagination, in the grimy ballad of Fat Peg (GROSSE MARGOT). I am not able to follow these gentlemen to this polite extreme. 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. But even if the tendency of criticism had run the other way, this ballad would have gone far to prove itself. I can well understand the reluctance of worthy persons in this matter; for of course it is unpleasant to think of a man of genius as one who held, in the words of Marina to Boult-

"A place, for which the pained'st fiend Of hell would not in reputation change."

But beyond this natural unwillingness, the whole difficulty of the case springs from a highly virtuous ignorance of life. Paris now is not so different from the Paris of then; and the whole of the doings of Bohemia are not written in the sugar- candy pastorals of Murger. It is really not at all surprising that a young man of the fifteenth century, with a knack of making verses, should accept his bread upon disgraceful terms. The race of those who do is not extinct; and some of them to this day write the prettiest verses imaginable. . . . After this, it were impossible for Master Francis to fall lower: to go and steal for himself would be an admirable advance from every point of view, divine or human.

(Editor：art)