r contributions, not merely of the principals,
but of their followers, the _Marotiques_ and _Sagontiques_, nothing
survives in general memory, or deserves to survive. Of Marot's
disciples, one, Mellin de Saint Gelais, deserves separate mention, the
others may be despatched in passing. Victor Brodeau, who, like his
master, held places in the courts both of Marguerite and her brother,
wrote not merely a devotional work, _Les Louanges de Jesus Christ notre
Seigneur_, which fairly illustrates the devotional side of the Navarrese
literary coterie, but also epigrams and rondeaux of no small merit.
Etienne Dolet, better known both as a scholar and translator, and as the
publisher of Marot and (surreptitiously) of Rabelais, composed towards
the end of his life poems in French, the principal of which was taken in
title and idea from Marot's _Enfer_, and which, though very unequal,
have passages of some poetical power. Marguerite herself has left a
considerable collection of poems of the most diverse kind and merit, the
title of which, _Marguerites de la Marguerite des Princesses_[172], is
perhaps not the worst thing about them. Farces, mysteries, religious
poems, such as _Le Triomphe de l'Agneau_, and _Le Miroir de l'Ame
Pecheresse_, with purely secular pieces on divers subjects, make up
these curious volumes. Not a few of the poems display the same nobility
of tone and stately sonorousness of verse, which has been and will be
noticed as a characteristic of the serious poetry of the age, and which
reached its climax in Du Bartas, D'Aubigne, and the choruses of Garnier
and Montchrestien. Bonaventure des Periers, an admirable prose writer,
was a poet, though not a very strong one. Francois Habert, 'Le Banni de
Liesse,' must not be confounded with Philippe Habert, author of a
remarkable _Temple de la Mort_ in the next century. Gilles Corrozet,
author of fables in verse, who, like many other literary men of the
time, was a printer and publisher as well, Jacques Gohorry, a pleasant
song writer, Gilles d'Aubigny, Jacques Pelletier, Etienne Forcadel,
deserve at least to be named. Of more importance were Hugues Salel,
Charles Fontaine, Antoine Heroet, Maurice Sceve. All these were members
of the Lyonnese literary coterie, and in connection with this Louise
Labe also comes in. Salel, famous as the first French translator of the
Iliad, or rather of Books I-XII thereof, distinguished himself as a
writer of _blasons_ in imitation of Marot, as