Gargantua and Pantagruel. Francois Rabelais
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own opinion and that of his age:
'Marot and Rabelais are inexcusable in their habit of scattering filth about their writings. Both of them had genius enough and wit enough to do without any such expedient, even for the amusement of those persons who look more to the laugh to be got out of a book than to what is admirable in it. Rabelais especially is incomprehensible. His book is an enigma—one may say inexplicable. It is a Chimera; it is like the face of a lovely woman with the feet and the tail of a reptile, or of some creature still more loathsome. It is a monstrous confusion of fine and rare morality with filthy corruption. Where it is bad, it goes beyond the worst; it is the delight of the basest of men. Where it is good, it reaches the exquisite, the very best; it ministers to the most delicate tastes.’
Putting aside the rather slight connection established between two men of whom one is of very little importance compared with the other, this is otherwise very admirably said, and the judgment is a very just one, except with regard to one point—the misunderstanding of the atmosphere in which the book was created, and the ignoring of the examples of a similar tendency furnished by literature as well as by the popular taste. Was it not the Ancients that began it? Aristophanes, Catullus, Petronius, Martial, flew in the face of decency in their ideas as well as in the words they used, and they dragged after them in this direction not a few of the Latin poets of the Renaissance, who believed themselves bound to imitate them. Is Italy without fault in this respect? Her story-tellers in prose lie open to easy accusation. Her Capitoli in verse go to incredible lengths; and the astonishing success of Aretino must not be forgotten, nor the licence of the whole Italian comic theatre of the sixteenth century. The Calandra of Bibbiena, who was afterwards a Cardinal, and the Mandragola of Machiavelli, are evidence enough, and these were played before Popes, who were not a whit embarrassed. Even in England the drama went very far for a time, and the comic authors of the reign of Charles II., evidently from a reaction, and to shake off the excess and the wearisomeness of Puritan prudery and affectation, which sent them to the opposite extreme, are not exactly noted for their reserve. But we need not go beyond France. Slight indications, very easily verified, are all that may be set down here; a formal and detailed proof would be altogether too dangerous.
Thus, for instance, the old Fabliaux—the Farces of the fifteenth century, the story-tellers of the sixteenth—reveal one of the sides, one of the veins, so to speak, of our literature. The art that addresses itself to the eye had likewise its share of this coarseness. Think of the sculptures on the capitals and the modillions of churches, and the crude frankness of certain painted windows of the fifteenth century. Queen Anne was, without any doubt, one of the most virtuous women in the world. Yet she used to go up the staircase of her chateau at Blois, and her eyes were not offended at seeing at the foot of a bracket a not very decent carving of a monk and a nun. Neither did she tear out of her book of Hours the large miniature of the winter month, in which, careless of her neighbours’ eyes, the mistress of the house, sitting before her great fireplace, warms herself in a fashion which it is not advisable that dames of our age should imitate. The statue of Cybele by the Tribolo, executed for Francis I., and placed, not against a wall, but in the middle of Queen Claude’s chamber at Fontainebleau, has behind it an attribute which would have been more in place on a statue of Priapus, and which was the symbol of generativeness. The tone of the conversations was ordinarily of a surprising coarseness, and the Precieuses, in spite of their absurdities, did a very good work in setting themselves in opposition to it. The worthy Chevalier de La-Tour-Landry, in his Instructions to his own daughters, without a thought of harm, gives examples which are singular indeed, and in Caxton’s translation these are not omitted. The Adevineaux Amoureux, printed at Bruges by Colard Mansion, are astonishing indeed when one considers that they were the little society diversions of the Duchesses of Burgundy and of the great ladies of a court more luxurious and more refined than the French court, which revelled in the Cent Nouvelles of good King Louis XI. Rabelais’ pleasantry about the woman folle a la messe is exactly in the style of the Adevineaux.
A later work than any of his, the Novelle of Bandello, should be kept in mind—for the writer was Bishop of Agen, and his work was translated into French—as also the Dames Galantes of Brantome. Read the Journal of Heroard, that honest doctor, who day by day wrote down the details concerning the health of Louis XIII. from his birth, and you will understand the tone of the conversation of Henry IV. The jokes at a country wedding are trifles compared with this royal coarseness. Le Moyen de Parvenir is nothing but a tissue and a mass of filth, and the too celebrated Cabinet Satyrique proves what, under Louis XIII., could be written, printed, and read. The collection of songs formed by Clairambault shows that the seventeenth and eighteenth centuries were no purer than the sixteenth. Some of the most ribald songs are actually the work of Princesses of the royal House.
It is, therefore, altogether unjust to make Rabelais the scapegoat, to charge him alone with the sins of everybody else. He spoke as those of his time used to speak; when amusing them he used their language to make himself understood, and to slip in his asides, which without this sauce would never have been accepted, would have found neither eyes nor ears. Let us blame not him, therefore, but the manners of his time.
Besides, his gaiety, however coarse it may appear to us—and how rare a thing is gaiety!—has, after all, nothing unwholesome about it; and this is too often overlooked. Where does he tempt one to stray from duty? Where, even indirectly, does he give pernicious advice? Whom has he led to evil ways? Does he ever inspire feelings that breed misconduct and vice, or is he ever the apologist of these? Many poets and romance writers, under cover of a fastidious style, without one coarse expression, have been really and actively hurtful; and of that it is impossible to accuse Rabelais. Women in particular quickly revolt from him, and turn away repulsed at once by the archaic form of the language and by the outspokenness of the words. But if he be read aloud to them, omitting the rougher parts and modernizing the pronunciation, it will be seen that they too are impressed by his lively wit as by the loftiness of his thought. It would be possible, too, to extract, for young persons, without modification, admirable passages of incomparable force. But those who have brought out expurgated editions of him, or who have thought to improve him by trying to rewrite him in modern French, have been fools for their pains, and their insulting attempts have had, and always will have, the success they deserve.
His dedications prove to what extent his whole work was accepted. Not to speak of his epistolary relations with Bude, with the Cardinal d’Armagnac and with Pellissier, the ambassador of Francis I. and Bishop of Maguelonne, or of his dedication to Tiraqueau of his Lyons edition of the Epistolae Medicinales of Giovanni Manardi of Ferrara, of the one addressed to the President Amaury Bouchard of the two legal texts which he believed antique, there is still the evidence of his other and more important dedications. In 1532 he dedicated his Hippocrates and his Galen to Geoffroy d’Estissac, Bishop of Maillezais, to whom in 1535 and 1536 he addressed from Rome the three news letters, which alone have been preserved; and in 1534 he dedicated from Lyons his edition of the Latin book of Marliani on the topography of Rome to Jean du Bellay (at that time Bishop of Paris) who was raised to the Cardinalate in 1535. Beside these dedications we must set the privilege of Francis I. of September, 1545, and the new privilege granted by Henry II. on August 6th, 1550, Cardinal de Chatillon present, for the third book, which was dedicated, in an eight-lined stanza, to the Spirit of the Queen of Navarre. These privileges, from the praises and eulogies they express in terms very personal and very exceptional, are as important in Rabelais’ life as were, in connection with other matters, the Apostolic Pastorals in his favour. Of course, in these the popes had not to introduce his books of diversions, which, nevertheless, would have seemed in their eyes but very venial sins. The Sciomachie of 1549, an account of the festivities arranged at Rome by Cardinal du Bellay in honour of the birth of the second son of Henry II., was addressed to Cardinal de Guise, and in 1552 the fourth book was dedicated, in a new prologue, to Cardinal de Chatillon, the brother of Admiral de Coligny.
These are no unknown or insignificant personages, but the greatest lords and princes of the Church. They loved and admired and protected Rabelais, and put no restrictions in his way. Why should we be more fastidious and severe than they were? Their high contemporary appreciation gives much food for thought.
There are few translations of Rabelais in foreign tongues; and certainly the task is no light one, and demands more than a familiarity with ordinary French.