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The Project Gutenberg EBook of Droll Stories, Complete, by Honore de Balzac This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Droll Stories, Complete Collected From The Abbeys Of Touraine Author: Honore de Balzac Release Date: August 23, 2004 [EBook #13260] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK DROLL STORIES, COMPLETE *** Produced by John Bickers, Ian Hodgson, Dagny and Emma Dudding DROLL STORIES COLLECTED FROM THE ABBEYS OF TOURAINE BY HONORE DE BALZAC TRANSLATORS 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 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
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