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 Drolatiques_, 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
information 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 sixteenth, it is a triumph of literary
archaeology. It is a model of that which it professes to imitate; the
production of a writer who, to accomplish it, must have been at once
historian, linguist, philosopher, archaeologist, and anatomist, 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 princesses, brave gentlemen and haughty ladies laughed
openly 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 consideration
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 Anglicising.
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 had been made to polish or round many of the
awkwardly constructed sentences 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 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 appreciate, 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_ was completed and published in 1837,
the present is the first English version ever brought before the
public.