Honoré Balzac - Droll Stories – Volume 1

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.

London, January, 1874

This is a book of the highest flavour, full of right hearty merriment, spiced to the palate of the illustrious and very precious tosspots and drinkers, to whom our worthy compatriot, Francois Rabelais, the eternal honour of Touraine, addressed himself. Be it nevertheless understood, the author has no other desire than to be a good Touranian, and joyfully to chronicle the merry doings of the famous people of this sweet and productive land, more fertile in cuckolds, dandies and witty wags than any other, and which has furnished a good share of men of renown in France, as witness the departed Courier of piquant memory; Verville, author of Moyen de Parvenir , and others equally well known, among whom we will specially mention the Sieur Descartes, because he was a melancholy genius, and devoted himself more to brown studies than to drinks and dainties, a man of whom all the cooks and confectioners of Tours have a wise horror, whom they despise, and will not hear spoken of, and say, "Where does he live?" if his name is mentioned. Now this work is the production of the joyous leisure of good old monks, of whom there are many vestiges scattered about the country, at Grenadiere-les-St. – Cyr, in the village of Sacche-les-Azay-le-Rideau, at Marmoustiers, Veretz, Roche-Cobon, and the certain storehouses of good stories, which storehouses are the upper stories of old canons and wise dames, who remember the good old days when they could enjoy a hearty laugh without looking to see if their hilarity disturbed the sit of your ruffle, as do the young women of the present day, who wish to take their pleasure gravely – a custom which suits our Gay France as much as a water jug would the head of a queen. Since laughter is a privilege granted to man alone, and he has sufficient causes for tears within his reach, without adding to them by books, I have considered it a thing most patriotic to publish a drachm of merriment for these times, when weariness falls like a fine rain, wetting us, soaking into us, and dissolving those ancient customs which make the people to reap public amusement from the Republic. But of those old pantagruelists who allowed God and the king to conduct their own affairs without putting of their finger in the pie oftener than they could help, being content to look on and laugh, there are very few left. They are dying out day by day in such manner that I fear greatly to see these illustrious fragments of the ancient breviary spat upon, staled upon, set at naught, dishonoured, and blamed, the which I should be loath to see, since I have and bear great respect for the refuse of our Gallic antiquities.

Bear in mind also, ye wild critics, you scrapers-up of words, harpies who mangle the intentions and inventions of everyone, that as children only do we laugh, and as we travel onward laughter sinks down and dies out, like the light of the oil-lit lamp. This signifies, that to laugh you must be innocent, and pure of a heart, lacking which qualities you purse your lips, drop your jaws, and knit your brow, after the manner of men hiding vices and impurities. Take, then, this work as you would take a group of statue, certain features of which an artist could omit, and he would be the biggest of all big fools if he puts leaves upon them, seeing that these said works are not, any more than is this book, intended for nunneries. Nevertheless, I have taken care, much to my vexation, to weed from the manuscripts the old words, which, in spite of their age, were still strong, and which would have shocked the ears, astonished the eyes, reddened the cheeks and sullied the lips of trousered maidens, and Madame Virtue with three lovers; for certain things must be done to suit the vices of the age, and a periphrase is much more agreeable than the word. Indeed, we are old, and find long trifles, better than the short follies of our youth, because at that time our taste was better. Then spare me your slanders, and read this rather at night than in the daytime and give it not to young maidens, if there be any, because this book is inflammable. I will now rid you of myself. But I fear nothing from this book, since it is extracted from a high and splendid source, from which all that has issued has had a great success, as is amply proved by the royal orders of the Golden Fleece, of the Holy Ghost, of the Garter, of the Bath, and by many notable things which have been taken therefrom, under shelter of which I place myself.