One Hundred Merrie and Delightsome Stories | Page 8

to that of which she had need; and of the fast that he caused her to make--as you will find more plainly below.

[Illustration: contents.jpg Contents]
[Illustration: intro.jpg Introduction]
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INTRODUCTION
The highest living authority on French Literature--Professor George Saintsbury--has said:
"The Cent Nouvelles is undoubtedly the first work of literary prose in French, and the first, moreover, of a long and most remarkable series of literary works in which French writers may challenge all comers with the certainty of victory. The short prose tale of a comic character is the one French literary product the pre-eminence and perfection of which it is impossible to dispute, and the prose tale first appears to advantage in the Cent Nouvelles Nouvelles. The subjects are by no means new. They are simply the old themes of the fabliaux treated in the old way. The novelty is in the application of prose to such a purpose, and in the crispness, the fluency, and the elegance, of the prose used."
Besides the literary merits which the eminent critic has pointed out, the stories give us curious glimpses of life in the 15th Century. We get a genuine view of the social condition of the nobility and the middle classes, and are pleasantly surprised to learn from the mouths of the nobles themselves that the peasant was not the down-trodden serf that we should have expected to find him a century after the Jacquerie, and 350 years before the Revolution.
In fact there is an atmosphere of tolerance, not to say bonhommie about these stories which is very remarkable when we consider under what circumstances they were told, and by whom, and to whom.
This seems to have struck M. Lenient, a French critic, who says:
"Generally the incidents and personages belong to the bourgeois��e; there is nothing chivalric, nothing wonderful; no dreamy lovers, romantic dames, fairies, or enchanters. Noble dames, bourgeois, nuns, knights, merchants, monks, and peasants mutually dupe each other. The lord deceives the miller's wife by imposing on her simplicity, and the miller retaliates in much the same manner. The shepherd marries the knight's sister, and the nobleman is not over scandalized.
"The vices of the monks are depicted in half a score tales, and the seducers are punished with a severity not always in proportion to the offence."
It seems curious that this valuable and interesting work has never before been translated into English during the four and a half centuries the book has been in existence. This is the more remarkable as the work was edited in French by an English scholar--the late Thomas Wright. It can hardly be the coarseness of some of the stories which has prevented the Nouvelles from being presented to English readers when there are half a dozen versions of the Heptameron, which is quite as coarse as the Cent Nouvelles Nouvelles, does not possess the same historical interest, and is not to be compared to the present work as regards either the stories or the style.
In addition to this, there is the history of the book itself, and its connection with one of the most important personages in French history--Louis XI. Indeed, in many French and English works of reference, the authorship of the Nouvelles has been attributed to him, and though in recent years, the writer is now believed--and no doubt correctly--to have been Antoine de la Salle, it is tolerably certain that Prince Louis heard all the stories related, and very possibly contributed several of them. The circumstances under which these stories came to be narrated requires a few words of explanation.
At a very early age, Louis showed those qualities by which he was later distinguished. When he was only fourteen, he caused his father, Charles VII, much grief, both by his unfilial conduct and his behaviour to the beautiful Agnes Sorel, the King's mistress, towards whom he felt an implacable hatred. He is said to have slapped her face, because he thought she did not treat him with proper respect. This blow was, it is asserted, the primary cause of his revolt against his father's authority (1440). The rebellion was put down, and the Prince was pardoned, but relations between father and son were still strained, and in 1446, Louis had to betake himself to his appanage of Dauphin��, where he remained for ten years, always plotting and scheming, and braving his father's authority.
At length the Prince's Court at Grenoble became the seat of so many conspiracies that Charles VII was obliged to take forcible measures. It was small wonder that the King's patience was exhausted. Louis, not content with the rule of his province, had made attempts to win over many of the nobility, and to bribe the archers of the Scotch Guard. Though not liberal as a rule, he had also expended large sums to different secret agents for some specific purpose,