CORNELL UNIVERSITY LIBRARY Droll stories collected from the abbeys 3 1924 027 702 657 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924027702657 DROLL STORIES DROLL STORIES. BALZAC'S CONTES DROLATIQUES DROLL STORIES COLLECTED FROM THE ABBEYS OF TOURAINE TRANSLATED INTO ENGLISH, COMPLETE AND UNABRIDGED ILLUSTRATED WITH DESIGNS By GU stave DORfi LONDON: PUBLISHED FOR THE TRADE TRANSLATOR'S PREFACE. WHEN, in March, 1832, the first volume of the now famous Contes Drolatiques was published by Gosselin of Paris, Balzac, in a short preface, written in the publisher's name, replied to those attacks which he anticipated certain critics would make upon his hardy experiment. He claimed for his book the protection of all those to whom literature was dear, because it was a work of art — and a work of art, in the highest sense of the word, it undoubtedly is. Like Boccaccio, Rabelais, the Queen of Navarre, Ariosto, and Verville, the great author of The Human Comedy has painted an epoch. In the fresh and wonderful language of the Merry Vicar of Meudon, he has given us a marvellous picture of French life and manners in the sixteenth century. The gallant knights and merry dames of that eventful period of French history stand out in bold relief upon his canvas. The background in these life-like figures is, as it were, "sketched upon the spot." After reading the Contes Dro- latiques, one could almost find one's way about the towns and villages of Touraine, unassisted by map or guide. Not only is this book a work of art from its historical in- formation and topographical accuracy ; its claims to that distinction rest upon a broader foundation. Written in the nineteenth century in imitation of the style of the six- Hi iv TRANSLATOR S PREFACE. teenth, it is a triumph of literary archseology. It is a model of that which it professes to imitate ; the production of a writer who, accomplish it, must have been at once historian, linguist, philosopher, archaeologist, and anato- mist, and each in no ordinary degree. In France his work has long been regarded as a classic— as a faithful picture of the last days of the moyen age, when kings and prin- cesses, brave gentlemen and haughty ladies, laughed open- ly at stories and jokes which are considered disgraceful by their more fastidious descendants. In England the difficulties of the language employed, and the quaintness and peculiarity of its style, have placed it beyond the reach of all but those thoroughly acquainted with the French of the sixteenth century. Taking into consider- ation the vast amount of historical information enshrined in its pages, the archaeological value which it must always possess for the student, and the dramatic interest of its stories, the translator has thought that an English edition of Balzac's chef-d'oeuvre would be acceptable to many. It has, of course, been impossible to reproduce in all its vigour and freshness the language of the original. Many of the quips and cranks and puns have been lost in the process of Anglicizing. These unavoidable blemishes apart, the writer ventures to hope that he has treated this great masterpiece in a reverent spirit, touched it with no sacrilegious hand, but, on the contrary, given as close a translation as the dissimilarities of the two languages permit. With this idea, no attempt has been made to polish or round many of the awkwardly constructed seri- tences which are characteristic of this volume. Rough, and occasionally obscure, they are far more in keeping with the spirit of the original than the polished periods of TRANSLATOR S PREFACE. V modern romance. Taking into consideration the many difficulties which he has had to overcome, and which those best acquainted with the French edition will best appre- ciate, the translator claims the indulgence of the critical reader for any shortcomings he may discover. The best plea that can be offered for such indulgence is the fact that, although Les Contes Drolatiques were completed and published in 1837, the present is the first English ver« sion ever brought before the public. London, January, 1874. TABLE OF CONTENTS VOLUME I. PAGE Translator's Preface iii THE FIRST TEN TALES. Prologue i The Fair Imperia 5 The Venial Sin 25 How the goodman Bruyh took a wife 25 How the Seneschal struggled with his wife's modesty. ... 40 That which is only a venial sin 50 Hov/ and by whom the said child was procured 59 How the said love-sin was repented of and led to great mourning 67 The King's Sweetheart 75 The Devil's Heir 92 The Merrie Jests of King Louis the Eleventh 115 The High Constable's Wife 136 The Maid of Tiiilouse 157 The Brother-in-Arms 165 The Vicar of Azay-le-Rideau 18-1 The Reproach 196 Epilogue 209 THE SECOND TEN TALES. Prologue 212 The Three Clerks of St. Nicholas 218 The Continence of King Francis the First 235 vii VIU TAiJLE OF CONTENTS. PAG The Merry Tattle of the Nuns of Poissy 24 How THE Chateau d'Azay Came to be Built 26 The False Courtesan 2S The Danger of Being too Innocent 29, The Dear Night of Love 30; ^ THE. FIRST TEN TALES. Prologue; The Fair Imperia. The Venial Sin. The King's Sweetheart. * The Devil's Heir. The Merrie Jests of King Louis the Eleventh The High Constable's Wife. _ The Maid of Thilouse. --'-^f :.. ., The Brothers-