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For four centuries Louis XI was credited with the authorship of the tales mentioned. The first person—so far as I am aware—to throw any doubt on his claim was the late Mr. Thomas Wright, who edited an edition of the Cent Nouvelles Nouvelles, published by Jannet, Paris, 1858. He maintained, with some show of reason, that as the stories were told in Burgundy, by Burgundians, and the collected tales were "edited" by a subject of the Duke (Antoine de la Salle, of whom I shall have occasion to speak shortly) it was more probable that "Monseigneur" would mean the Duke than the Dauphin, and he therefore ascribed the stories to Philippe le Bel. Modern French scholars, however, appear to be of opinion that "Monseigneur" was the Comte de Charolais, who afterwards became famous as Charles le Téméraire, the last Duke of Burgundy. The two great enemies were at that time close friends, and Charles was a very frequent visitor to Genappe. It was not very likely, they say, that Duke Philippe who was an old man would have bothered himself to tell his guest indecent stories. On the other hand, Charles, being then only Comte de Charolais, had no right to the title of "Monseigneur," but they parry that difficulty by supposing that as he became Duke before the tales were printed, the title was given him in the first printed edition. The matter is one which will, perhaps, never be satisfactorily settled. My own opinion—though I claim for it no weight or value—is that Louis appears to have the greatest right to the stories, though in support of that theory I can only adduce some arguments, which if separately weak may have some weight when taken collectively. Vérard, who published the first edition, says in the Dedication; "Et notez que par toutes les Nouvelles où il est dit par Monseigneur il est entendu par Monseigneur le Dauphin, lequel depuis a succédé à la couronne et est le roy Loys unsieme; car il estoit lors es pays du duc de Bourgoingne." The critics may have good reason for throwing doubt on Vérard's statement, but unless he printed his edition from a M.S. made after 1467, and the copyist had altered the name of the Comte de Charolais to "Monseigneur" it is not easy to see how the error arose, whilst on the other hand, as Vérard had every facility for knowing the truth, and some of the copies must have been purchased by persons who were present when the stories were told, the mistake would have been rectified in the subsequent editions that Vérard brought out in the course of the next few years, when Louis had been long dead and there was no necessity to flatter his vanity.
What does obscene mean? What does it have to say about the means through which meaning is produced and received in literary, artistic and, more broadly, social acts of representation and interaction? Early modern France and Europe faced these questions not only in regard to the political, religious and artistic reformations for which the Renaissance stands, but also in light of the reconfiguration of its mediasphere in the wake of the invention of the printing press. The Politics of Obscenity brings together researchers from Europe and the United States in offering scholars of early modern Europe a detailed understanding of the implications and the impact of obscene representations in their relationship to the Gutenberg Revolution which came to define Western modernity.
Renowned today for his contribution to the rise of the modern European fairy tale, Giovan Francesco Straparola (c. 1480–c. 1557) is particularly known for his dazzling anthology The Pleasant Nights. Originally published in Venice in 1550 and 1553, this collection features seventy-three folk stories, fables, jests, and pseudo-histories, including nine tales we might now designate for ‘mature readers’ and seventeen proto-fairy tales. Nearly all of these stories, including classics such as ‘Puss in Boots,’ made their first ever appearance in this collection; together, the tales comprise one of the most varied and engaging Renaissance miscellanies ever produced. Its appeal sustained it through twenty-six editions in the first sixty years. This full critical edition of The Pleasant Nights presents these stories in English for the first time in over a century. The text takes its inspiration from the celebrated Waters translation, which is entirely revised here to render it both more faithful to the original and more sparkishly idiomatic than ever before. The stories are accompanied by a rich sampling of illustrations, including originals from nineteenth-century English and French versions of the text. As a comprehensive critical and historical edition, these volumes contain far more information on the stories than can be found in any existing studies, literary histories, or Italian editions of the work. Donald Beecher provides a lengthy introduction discussing Straparola as an author, the nature of fairy tales and their passage through oral culture, and how this phenomenon provides a new reservoir of stories for literary adaptation. Moreover, the stories all feature extensive commentaries analysing not only their themes but also their fascinating provenances, drawing on thousands of analogue tales going back to ancient Sanskrit, Persian, and Arabic stories. Immensely entertaining and readable, The Pleasant Nights will appeal to anyone interested in fairy tales, ancient stories, and folk creations. Such readers will also enjoy Beecher’s academically solid and erudite commentaries, which unfold in a manner as light and amusing as the stories themselves.
This full critical edition of The Pleasant Nights presents these stories in English for the first time in over a century. The text takes its inspiration from the celebrated Waters translation, which is entirely revised here to render it both more faithful to the original and more sparkishly idiomatic than ever before. The stories are accompanied by a rich sampling of illustrations, including originals from nineteenth-century English and French versions of the text.
In 1832 the Scottish ballad collector Peter Buchan of Peterhead, Aberdeenshire, presented an anthology of risqué‚ and convivial songs and ballads to a Highland laird. When Professor Francis James Child of Harvard was preparing his magisterial edition of The English and Scottish Popular Ballads, he made inquiries about it, but it was not made available in time to be considered for his work. On his death it was presented to the Child Memorial Library at Harvard. Because of its unseemly materials, the manuscript languished there since, unprinted, though referred to now and again, and a few items from time to time made an appearance. The manuscript has now been transcribed with full annotation and with an introduction on the compiler, his times, and the Scottish bawdy tradition. It contains the texts (without tunes) of seventy-six bawdy songs and ballads, along with a long-lost scatological poem attributed to the Edinburgh writer James “Balloon” Tytler. Appendices give details of Buchan's two published collections of ballads. Additionally, there is a list of tale types and motifs, a glossary of Scots and archaic words, a bibliography, and an index. The High-Kilted Muse brings to light a long-suppressed volume and fills in a great gap in published bawdy songs and ballads.