While every effort has been made to follow citation style rules, there may be some discrepancies. Please refer to the appropriate style manual or other sources if you have any questions.
Select Citation Style Copy Citation Share to social media Give Feedback Thank you for your feedbackOur editors will review what you’ve submitted and determine whether to revise the article.
verifiedCiteWhile every effort has been made to follow citation style rules, there may be some discrepancies. Please refer to the appropriate style manual or other sources if you have any questions.
Select Citation Style Copy Citation Share to social media Also known as: “Le Grand Testament” Written and fact-checked by The Editors of Encyclopaedia BritannicaEncyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree. They write new content and verify and edit content received from contributors.
The Editors of Encyclopaedia Britannica Table of Contents Also called: Le Grand Testament (Show more)Ask the Chatbot a Question
Ask the Chatbot a Question
Le Testament, long poem by François Villon, written in 1461 and published in 1489. It consists of 2,023 octosyllabic lines arranged in 185 huitains (eight-line stanzas). These huitains are interspersed with a number of fixed-form poems, chiefly ballades and chansons, including the well-known “Ballade des dames du temps jadis” (“Ballad of the Ladies of Bygone Times”). While it is full of cruel humour, it is less overtly comic and much more complex than his earlier Le Petit Testament.
In the poem, Villon bitterly reviews his life and expresses his horror of prison (the poem itself was written after he was released from prison), sickness, and old age with its attendant misery and his fear of death. It is notable for the poignant note of regret for his wasted youth and squandered talent. As in Le Petit Testament, he makes bequests to those he is leaving behind, but his tone in this work is much more scathing than that in his earlier work, and he writes with greater ironic detachment.
This article was most recently revised and updated by Kathleen Kuiper.