Lives of Fair and Gallant Ladies/Volume I/Appendix B

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APPENDIX—B


BRANTÔME: By George Saintsbury


The complement and counterpart of this moralising[1] on human business and pleasure is necessarily to be found in chronicles of that business and that pleasure as actually pursued. In these the sixteenth century is extraordinarily rich. Correspondence had hardly yet attained the importance in French literature which it afterwards acquired, but professed history and, still more, personal memoirs were largely written. The name of Brantôme has been chosen as the central and representative name of this section of writers, because he is on the whole the most original and certainly the most famous of them. His work, moreover, has more than one point of resemblance to that of the great contemporary author (Montaigne) with whom he is linked at the head of this chapter. Brantôme neither wrote actual history nor directly personal memoirs, but desultory biographical essays, forming a curious and perhaps designed pendant to the desultory moral essays of his neighbour Montaigne. Around him rank many writers, some historians pure and simple, some memoir-writers pure and simple, of whom not a few approach him in literary genius, and surpass him in correctness and finish of style, while almost all exceed him in whatever advantage may be derived from uniformity of plan, and from regard to the decencies of literature.

Pierre de Bourdeille (s) (who derived the name by which he is, and indeed was during his lifetime, generally known from an abbacy given to him by Henri II. when he was still a boy) was born about 1540, in the province of Perigord, but the exact date and place of his birth have not been ascertained. He was the third son of François, Comte de Bourdeilles, and his mother, Anne de Vivonne de la Chataigneraie, was the sister of the famous duelist whose encounter with Jarnac his nephew has described in a well-known passage. In the court of Marguerite d'Angouleme, the literary nursery of so great a part of the talent of France at this time, he passed his early youth, went to school at Paris and at Poitiers, and was made Abbé de Brantôme at the age of sixteen. He was thus sufficiently provided for, and he never took any orders, but was a courtier and a soldier throughout the whole of his active life. Indeed almost the first use he made of his benefice was to equip himself and a respectable suite for a journey into Italy, where he served under the Marechal de Brissac. He accompanied Mary Stuart to Scotland, served in the Spanish army in Africa, volunteered for the relief of Malta from the Turks, and again for the expedition destined to assist Hungary against Soliman, and in other ways led the life of a knight-errant. The religious wars in his own country gave him plenty of employment; but in the reigns of Charles IX. and Henri III. he was more particularly attached to the suite of the queen dowager and her daughter Marguerite. He was, however, somewhat disappointed in his hopes of recompense; and after hesitating for a time between the Royalists, the Leaguers, and the Spaniards, he left the court, retired into private life, and began to write memoirs, partly in consequence of a severe accident. He seems to have begun to write about 1594, and he lived for twenty years longer, dying on the 15th of July, 1614.

The form of Brantôme's works is, as has been said, peculiar. They are usually divided into two parts, dealing respectively with men and women. The first part in its turn consists of many subdivisions, the chief of which is made up of the Vies des Grand Capitaines Etrangers et Français, while others consist of separate disquisitions or essays, Des Rodomontades Espagnoles, "On some Duels and Challenges in France" and elsewhere, "On certain Retreats, and how they are sometimes better than Battles," etc. Of the part which is devoted to women the chief portion is the celebrated Dames Galantes, which is preceded by a series of Vies des Dames Illustres, matching the Grands Capitaines. The Dames Galantes is subdivided into eight discourses, with titles which smack of Montaigne. These discourses are, however, in reality little but a congerie of anecdotes, often scandalous enough. Besides these, his principal works, Brantôme left divers Opuscula, some of which are definitely literary, dealing chiefly with Lucan. None of his works were published in his lifetime, nor did any appear in print until 1659. Meanwhile manuscript copies had, as usual, been multiplied, with the result, also usual, that the text was much falsified and mutilated.

The great merit of Brantôme lies in the extraordinary vividness of his powers of literary presentment. His style is careless, though it is probable that the carelessness is not unstudied. But his irregular, brightly coloured, and easily flowing manner represents, as hardly any age has ever been represented, the characteristics of the great society of his time. It is needless to say that the morals of that time were utterly corrupt, but Brantôme accepts them with a placid complacency which is almost innocent. No writer, perhaps, has ever put things more disgraceful on paper; but no writer has ever written of such things in such a perfectly natural manner. Brantôme was in his way a hero-worshipper, though his heroes and heroines were sometimes oddly coupled. Bayard and Marguerite de Valois represent his ideals, and a good knight or a beautiful lady de par le monde can do no wrong. This unquestioning acceptance of, and belief in, the moral standards of his own society give a genuineness and a freshness to his work which are very rare in literature. Few writers, again, have had the knack of hitting off character, superficially it is true, yet with sufficient distinction, which Brantôme has. There is something individual about all the innumerable characters who move across his stage, and something thoroughly human about all, even the anonymous men and women, who appear for a moment as the actors in some too frequently discreditable scene. With all this there is a considerable vein of moralising in Brantôme which serves to throw up the relief of his actual narratives. He has sometimes been compared to Pepys, but, except in point of garrulity and of readiness to set down on paper anything that came into their heads, there is little likeness between the two. Brantôme was emphatically an ecrivain (unscholarly and Italianised as his phrase sometimes appears, if judged by the standards of a severer age), and some of the best passages from his works are among the most striking examples of French prose.

[From A Short History of French Literature. 6th Ed. Oxford. 1901.]


  1. Referring to Montaigne's Essays.