The knights and squires who told the stories had probably no great skill as raconteurs, and perhaps did not read or write very fluently. The tales were written down afterwards by a literary man, and they owe “the crispness, fluency, and elegance,” which, as Prof. Saintsbury remarks, they possess in such a striking degree, to the genius of Antoine de la Sale. He was born in 1398 in Burgundy or Touraine. He had travelled much in Italy, and lived for some years at the Court of the Comte d’ Anjou. He returned to Burgundy later, and was, apparently, given some sort of literary employment by Duke Philippe le Bel. At any rate he was appointed by Philippe or Louis to record the stories that enlivened the evenings at the Castle of Genappe, and the choice could not have fallen on a better man. He was already known as the author of two or three books, one of which—Les Quinze Joyes de Mariage—relates the woes of married life, and displays a knowledge of character, and a quaint, satirical humour that are truly remarkable, and remind the reader alternately of Thackeray and Douglas Jerrold,—indeed some of the Fifteen Joys are “Curtain Lectures” with a mediaeval environment, and the word pictures of Woman’s foibles, follies, and failings are as bright to-day as when they were penned exactly 450 years ago. They show that the “Eternal Feminine” has not altered in five centuries—perhaps not in five thousand!
The practised and facile pen of Antoine de la Sale clothed the dry bones of these stories with flesh and blood, and made them live, and move. Considering his undoubted gifts as a humourist, and a delineator of character it is strange that the name of Antoine de la Sale is not held in higher veneration by his countrymen, for he was the earliest exponent of a form of literary art in which the French have always excelled.
In making a translation of these stories I at first determined to adhere as closely as possible to the text, but found that the versions differed greatly. I have followed the two best modern editions, and have made as few changes and omissions as possible.
Three or four of the stories are extremely coarse, and I hesitated whether to omit them, insert them in the original French, or translate them, but decided that as the book would only be read by persons of education, respectability, and mature age, it was better to translate them fully,—as has been done in the case of the far coarser passages of Rabelais and other writers. This course appeared to me less hypocritical than that adopted in a recent expensive edition of Boccaccio in which the story of Rusticus and Alibech was given in French—with a highly suggestive full-page illustration facing the text for the benefit of those who could not read the French language.
ROBERT B. DOUGLAS.
Paris, 21st October 1899.
Good friends, my readers, who peruse this book,
Be not offended, whilst on it you look:
Denude yourselves of all deprav’d affection,
For it contains no badness nor infection:
‘T is true that it brings forth to you no birth
Of any value, but in point of mirth;
Thinking therefore how sorrow might your mind
Consume, I could no apter subject find;
One inch of joy surmounts of grief a span;
Because to laugh is proper to the man.
(RABELAIS: To the Readers).