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,
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