hommasse (of Mary of Hungary). A noticeable feature of his style is his love of Italian and Spanish words, reflecting in this, as in other features, the prevailing fashion of the Court.
Brantôme's keen enjoyment of the world pageantry was seldom disturbed by inconvenient reflexion. His only quarrel with society was that the ruling powers were blind to his own merits. He thought the duel, even in the treacherous and bloodthirsty fashion in which it was then carried on, an excellent institution, and at the end of his account of Coligny he inserts an elaborate disquisition on the material benefits which the religious wars had conferred on France. All classes had profited, nobles, clergy, magistrates, merchants, artisans.
And all this is said in sober earnest, without a suspicion of irony. One might at any rate give Brantôme credit for originality had he not told us at the outset that this was the substance of a conversation which he overheard at Court between two great persons, one a soldier and the other a statesman, and both excellent Catholics. Brantôme was the echo as well as the mirror of the Court.
Brantôme's glowing panegyric on Margaret of Valois induced that virtuous princess to write her memoirs, partly in order to supplement his account of her, partly to correct a few errors into which he had fallen. It is to Brantôme accordinly that her memoirs are addressed. They were written about the year 1597 in the chateau of Usson in Auvergne, where she had resided, nominally as a prisoner, since 1687.
[From The Literature of the French Renaissance, Vol. II. 1904.]
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