Gustave Doré – Page 2 – derrickjknight

Droll Tales 20

“Desperate Love”, “Despair in Love”, and “Love’s Despair” are the varied title translations of the last story in the second Decade of Honoré de Balzac’s largely scurrilous selection, illustrated respectively by

Mervyn Peake, with his mastery of the simple line;

by Gustave Doré with his packed detail;

and by Jean de Bosschère who produces his own particular interpretation.

This is a short story telling of a handsome and melancholy young man enamoured of a great lady, yet becoming tongue-tied and limp-limbed when attempting to translate the fiercely erotic energy imbued into his skilful sculpting to the wooing of the tantalising temptress.

Further details of each of these publications is given in https://derrickjknight.com/2023/01/06/droll-tales-1/except that the second Decade is published by New York’s Covici, Friede in 1929. It is America’s first edition thus and is a limited copy. The illustrations are not protected by tissue but the book’s condition is quite good and covered by a cellophane wrapper.

Droll Tales 19

The story entitled by The Folio Society as “The Succuba”, and by the other two publishers under consideration as the more normal “The Succubus” Is the longest story in Balzac’s collection.

The tale explores the nature of this female demon believed to have had sexual intercourse with sleeping men – in this case the “sleeping with” is not today’s euphemism for not actually sleeping. The case against, in what is essentially a 13th century witch hunt and trial, following the determination of the equivalent of our Crown Prosecution Service that there is a case to answer. Evidence is amassed, and a conclusion reached after a veritable Inquisition. I will not detail this for fear of spoiling the story, but must warn that anyone reading too much of the text accompanying Doré’s illustrations may get the idea.

Although there is plenty of the author’s entertaining wordplay to keep us engaged, some repetitions, for example the lists of participants ( the reason I never finished Malory’s “Morte d’Arthur”) does bore a bit.

Here are the illustrations of Mervyn Peake in the Folio Society edition;

those of Gustave Doré published by The Bibliophilist Society;

and Jean de Bosschère from Covici Friede.

Droll Tales 17

There is no illustration by Mervyn Peake in the Folio Society edition of the 7th of the second Decade of these tales, entitled “An Expensive Night of Love”.

This publisher is perhaps choosing to head the story unambiguously, unlike the publishers of Gustave Doré (The Dear Night of Love)

or of Jean de Bosschère (A Dear Night of Love), each of whom follows the example of the double entendre style of the author, Honoré de Balzac, who, with his usual clever, fluent, prose, conveys descriptions of manipulation of events and romantic dalliance conducted, before the protagonists are able to come to grips with each other, by means of lustful glances and gestures to rival those of Tom Finney and Joyce Redman in

Droll Tales 16

The Folio Society edition of the sixth tale of the second Decade of Balzac’s collection of Droll Tales has three extra words, as bracketed here, “The Danger of being too (much of an) Innocent”, included in the title, which are not included by the other two publishers featured.

Here is Mervyn Peake’s drawing for Folio;

Gustave Doré has produced three pictures for The Bibliophilist Society;

and Jean de Bosschère one for Covici Friede.

The story tells of the parental figures’ control of the childhoods of the young subjects of an arranged marriage; the first nights of the bride and groom; their ignorance of what each was to expect of the other between the sheets; their seeking instruction from older teachers; and the subsequent outcome.

Droll Tales 14

There was no Mervyn Peake illustration to the fourth tale, entitled by The Folio Society “The Building of Azay Castle” from the second Decade of Balzac’s collection.

This was more than compensated for by Gustave Doré in what his publishers called “How the Chateau d’Azay came to be built.

Jean de Bosschère’s publishers showed the same title, which is in fact really more accurate, given that this really has nothing to do with building but all to do with the decision to build it.

With all the author’s fluent prose and a smattering of double entendre, he tells of the resourcefulness; obsession with a beautiful, older, woman; the sexual prowess; a bet ultimately lost, yet made good by a clever cryptic account, of a poverty-stricken young man.

Droll Tales 13

In truth, I am not sure how take the third tale of the second Decade of Honoré de Balzac’s scurrilous stories. And I am not sure that the publishers and their illustrators are either.

No doubt packed with the author’s double entendre one could take this as what The Folio Society edition entitles “The Edificatory Conversation of the Nuns of Poissy” – perhaps that is also tongue in cheek? – or do we understand the warnings against male fleas to be the consequences of consorting with men? Repeated reading suggests the latter to me – but also that there are many ways of getting round the difficulty. After all, this convent was the butt of jokes.

Mervyn Peake’s illustration demonstrates one refuge for disappointed suitors.

“The Merry Tattle of the Nuns of Poissy” is the preferred title of Gustave Doré’s publishers, while those of

Jean de Bosschère who, true to type is sure of how to interpret the prose, prefer “The Merry Quips of the Nuns of Poissy”

Further details of each of these publications is given in https://derrickjknight.com/2023/01/06/droll-tales-1/ except that the second Decade is published by New York’s Covici, Friede in 1929. It is America’s first edition thus and is a limited copy. The illustrations are not protected by tissue but the book’s condition is good and is covered by a cellophane wrapper.

Droll Tales 15

“A Courtier’s False Wife” is The Folio Society’s title for the fifth tale of the second Decade of Balzac’s scurrilous series, illustrated by

Mervyn Peake.

Gustave Doré’s publishers prefer “The False Courtesan”,

whereas those of Jean de Bosschère opt for “The Sham Courtesan”.

Once again I think the later publishers have chosen the correct alternatives, because this is the story of the lengths to which the Duke of Orleans has gone in order trick a faithful couple into infidelity – with each other. The lady in question is false to a courtesan identity, not in reality as a wife.

Droll Tales 12

The second Tale of the second Decade of Honoré de Balzac’s Droll Tales bears the title “King Francis’s Short Commons” in the Folio Society edition

illustrated by Mervyn Peake.

This is a very short story concerning the French King’s spell of captivity in Madrid by the Emperor Charles the Fifth, during which his short commons were relieved by a series of ladies encouraging him to select a preference between those of France and of Spain.

The publishers of both Gustave Doré’s

and Jean de Bosschère’s pictorial interpretations each adopted “The Continence of King Francis the First”.

Droll Tales 10

The constant cold we are currently experiencing at home is becoming energy sapping enough for me to stay indoors and read more of Balzac’s Droll Tales.

The Folio Society have opted for the title Last Word for the tenth tale in the first Decade of Honoré de Balzac’s characteristically amusing stories.

This is a short account of unrequited lust, teasing temptation, crafty cuckolding, hopeless hatred and craving for vengeance, in what is presented as a warning lesson.

Here is Mervyn Peake’s sensitive illustration to the Folio Society edition.

Gustave Doré’s publishers have named the story “The Reproach”,

while the Bodley Head, for whom Jean de Bosschère provided the picture, prefer “The Rebuke”.

Further details of each of these publications is given in https://derrickjknight.com/2023/01/06/droll-tales-1/

This evening we all dined on Jackie’s flavoursome chicken and vegetable stewp with which she drank Hoegaarden and I drank more of the Syrah.

Droll Tales 9

The ninth tale in the first Decade of Balzac’s collection of bawdy tales contains snippets of the life of a worldly cleric which to my mind to not constitute a coherent whole.

Entitled The Curé of Azay-Le-Rideau by the Folio Society (featuring