Gargantua & Pantagruel (French Literature Classic). Francois Rabelais
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was made of three hundred ells and a half of silken serge, half white and half blue, if I mistake it not. His sword was not of Valentia, nor his dagger of Saragossa, for his father could not endure these hidalgos borrachos maranisados como diablos: but he had a fair sword made of wood, and the dagger of boiled leather, as well painted and gilded as any man could wish.
His purse was made of the cod of an elephant, which was given him by Herr Pracontal, proconsul of Lybia.
For his gown were employed nine thousand six hundred ells, wanting two-thirds, of blue velvet, as before, all so diagonally purled, that by true perspective issued thence an unnamed colour, like that you see in the necks of turtle-doves or turkey-cocks, which wonderfully rejoiced the eyes of the beholders. For his bonnet or cap were taken up three hundred, two ells and a quarter of white velvet, and the form thereof was wide and round, of the bigness of his head; for his father said that the caps of the Marrabaise fashion, made like the cover of a pasty, would one time or other bring a mischief on those that wore them. For his plume, he wore a fair great blue feather, plucked from an onocrotal of the country of Hircania the wild, very prettily hanging down over his right ear. For the jewel or brooch which in his cap he carried, he had in a cake of gold, weighing three score and eight marks, a fair piece enamelled, wherein was portrayed a man’s body with two heads, looking towards one another, four arms, four feet, two arses, such as Plato, in Symposio, says was the mystical beginning of man’s nature; and about it was written in Ionic letters, Agame ou zetei ta eautes, or rather, Aner kai gune zugada anthrotos idiaitata, that is, Vir et mulier junctim propriissime homo. To wear about his neck, he had a golden chain, weighing twenty-five thousand and sixty-three marks of gold, the links thereof being made after the manner of great berries, amongst which were set in work green jaspers engraven and cut dragon-like, all environed with beams and sparks, as king Nicepsos of old was wont to wear them: and it reached down to the very bust of the rising of his belly, whereby he reaped great benefit all his life long, as the Greek physicians know well enough. For his gloves were put in work sixteen otters’ skins, and three of the loupgarous, or men-eating wolves, for the bordering of them: and of this stuff were they made, by the appointment of the Cabalists of Sanlouand. As for the rings which his father would have him to wear, to renew the ancient mark of nobility, he had on the forefinger of his left hand a carbuncle as big as an ostrich’s egg, enchased very daintily in gold of the fineness of a Turkey seraph. Upon the middle finger of the same hand he had a ring made of four metals together, of the strangest fashion that ever was seen; so that the steel did not crash against the gold, nor the silver crush the copper. All this was made by Captain Chappuys, and Alcofribas his good agent. On the medical finger of his right hand he had a ring made spire-wise, wherein was set a perfect Balas ruby, a pointed diamond, and a Physon emerald, of an inestimable value. For Hans Carvel, the king of Melinda’s jeweller, esteemed them at the rate of threescore nine millions, eight hundred ninety-four thousand, and eighteen French crowns of Berry, and at so much did the Foucres of Augsburg prize them.
Chapter 1.IX.—The colours and liveries of Gargantua.
Gargantua’s colours were white and blue, as I have showed you before, by which his father would give us to understand that his son to him was a heavenly joy; for the white did signify gladness, pleasure, delight, and rejoicing, and the blue, celestial things. I know well enough that, in reading this, you laugh at the old drinker, and hold this exposition of colours to be very extravagant, and utterly disagreeable to reason, because white is said to signify faith, and blue constancy. But without moving, vexing, heating, or putting you in a chafe (for the weather is dangerous), answer me, if it please you; for no other compulsory way of arguing will I use towards you, or any else; only now and then I will mention a word or two of my bottle. What is it that induceth you, what stirs you up to believe, or who told you that white signifieth faith, and blue constancy? An old paltry book, say you, sold by the hawking pedlars and balladmongers, entitled The Blason of Colours. Who made it? Whoever it was, he was wise in that he did not set his name to it. But, besides, I know not what I should rather admire in him, his presumption or his sottishness. His presumption and overweening, for that he should without reason, without cause, or without any appearance of truth, have dared to prescribe, by his private authority, what things should be denotated and signified by the colour: which is the custom of tyrants, who will have their will to bear sway in stead of equity, and not of the wise and learned, who with the evidence of reason satisfy their readers. His sottishness and want of spirit, in that he thought that, without any other demonstration or sufficient argument, the world would be pleased to make his blockish and ridiculous impositions the rule of their devices. In effect, according to the proverb, To a shitten tail fails never ordure, he hath found, it seems, some simple ninny in those rude times of old, when the wearing of high round bonnets was in fashion, who gave some trust to his writings, according to which they carved and engraved their apophthegms and mottoes, trapped and caparisoned their mules and sumpter-horses, apparelled their pages, quartered their breeches, bordered their gloves, fringed the curtains and valances of their beds, painted their ensigns, composed songs, and, which is worse, placed many deceitful jugglings and unworthy base tricks undiscoveredly amongst the very chastest matrons and most reverend sciences. In the like darkness and mist of ignorance are wrapped up these vain-glorious courtiers and name-transposers, who, going about in their impresas to signify esperance (that is, hope), have portrayed a sphere—and birds’ pennes for pains—l’ancholie (which is the flower colombine) for melancholy—a waning moon or crescent, to show the increasing or rising of one’s fortune—a bench rotten and broken, to signify bankrupt—non and a corslet for non dur habit (otherwise non durabit, it shall not last), un lit sans ciel, that is, a bed without a tester, for un licencie, a graduated person, as bachelor in divinity or utter barrister-at-law; which are equivocals so absurd and witless, so barbarous and clownish, that a fox’s tail should be fastened to the neck-piece of, and a vizard made of a cowsherd given to everyone that henceforth should offer, after the restitution of learning, to make use of any such fopperies in France.
By the same reasons (if reasons I should call them, and not ravings rather, and idle triflings about words), might I cause paint a pannier, to signify that I am in pain—a mustard-pot, that my heart tarries much for’t—one pissing upwards for a bishop—the bottom of a pair of breeches for a vessel full of fart-hings—a codpiece for the office of the clerks of the sentences, decrees, or judgments, or rather, as the English bears it, for the tail of a codfish—and a dog’s turd for the dainty turret wherein lies the love of my sweetheart. Far otherwise did heretofore the sages of Egypt, when they wrote by letters, which they called hieroglyphics, which none understood who were not skilled in the virtue, property, and nature of the things represented by them. Of which Orus Apollon hath in Greek composed two books, and Polyphilus, in his Dream of Love, set down more. In France you have a taste of them in the device or impresa of my Lord Admiral, which was carried before that time by Octavian Augustus. But my little skiff alongst these unpleasant gulfs and shoals will sail no further, therefore must I return to the port from whence I came. Yet do I hope one day to write more at large of these things, and to show both by philosophical arguments and authorities, received and approved of by and from all antiquity, what, and how many colours there are in nature, and what may be signified by every one of them, if God save the mould of my cap, which is my best wine-pot, as my grandam said.
Chapter 1.X.—Of that which is signified by the colours white and blue.
The white therefore signifieth joy, solace, and gladness, and that not at random, but upon just and very good grounds: which you may perceive to be true, if laying aside all prejudicate affections, you will but give ear to what presently I shall expound unto you.
Aristotle saith that, supposing two things contrary in their kind, as good and evil, virtue and vice, heat and cold, white and black, pleasure and pain, joy and grief—and so of others—if you couple them in such