Rabelais

“ Rabelais' exuberance of mere words and phrases is overwhelming ; and he often pours them out one on top of another interminably, rioting in their exhaustless rush and flow. The vocabulary of his age is far too poor for him ; he presses into his service every patois, he invents the wildest quirks and the most extravagant compounds, he lays ancient and modern tongues under tribute, stamping their coins with French inflections. In this enormous wealth and prodigal volubility of language, he is again to be compared only to our Shakespeare. ”

“ Below his laughter lay wisdom; below his orgy of grossness lay a noble ideality; below the extravagances of his imagination lay the equilibrium of a spirit sane and strong. The life that was in him was so abounding and exultant that it broke all dikes and dams; and laughter for him needed no justification, it was a part of this abounding life. After the mediæval asceticism and the intellectual bondage of scholasticism, life in Rabelais has its vast outbreak and explosion; he would be no fragment of humanity, but a complete man. ”

“ The subtle, satirical, epigrammatic tale-telling spirit stamped on every page of Rabelais is the faithful expression of the Tourangian mind,—a mind polished and refined as it should be in a land where the kings of France long held their court; ardent, artistic, poetic, voluptuous, yet whose first impulses subside quickly. The softness of the atmosphere, the beauty of the climate, a certain ease of life and joviality of manners, smother before long the sentiment of art, narrow the widest heart, and enervate the strongest will. ”

“ In all the literary work which has been mentioned, the originality and freshness of the French genius are no less conspicuous than its saturation with the new learning and with Italian studies. But the greatest name of the epoch, the name which is synonymous with the Renaissance in France, has yet to be uttered. That, of course, is Rabelais. His incommensurable and indescribable masterpiece of mingled humour, wisdom, satire, erudition, indecency, profundity, levity, imagination, realism, reflects the whole age in its mirror of hyper-Aristophanic farce. ”

“ Then, in Rabelais you have another symbolism of ecstasy—the shape of gauloiserie, of gross, exuberant gaiety, expressing itself by outrageous tales, outrageous words, by a very cataract of obscenity, if you please, if only you will notice how the obscenity of Rabelais transcends the obscenity of common life; how grossness is poured out in a sort of mad torrent, in a frenzy, a very passion of the unspeakable. ”

“ In the chaotic conditions belonging to this epoch lived Rabelais. We are not surprised that, in the midst of this society, corrupt from its debaucheries and tottering on its foundations, and being witness to such ruin and devastation, the genius of this wonderful man prompted him to reveal, by means of withering sarcasm, the frightful past of the Middle Ages, the effects of which were still felt in his own century, which looked back upon that past with horror. ”

“ But then, the wildest extravagance of these men is so rich, so varied, so charged with insight and thought, and, in the case of Rabelais, so resplendent with learning and suggestion, that we never feel satiety and the cruel sense that the painted mask on the stage is grinning at us, whilst the actor behind it is weary and sad. ”

“ A great humorist, showing himself content to grovel in the dirt, is, beyond question, deserving of black looks and shut doors. But more than most old masters of a type, strong, albeit coarse, Rabelais—from the distinctly marked physical attributes of his chief personages—may claim certain good points which, drawn out and grouped together, ought to fall within the circle of those tales which interest children. ”

“ Rabelais was set down as the first wit and scholar of his age.
The character of the book we have noticed cannot be defended. Its irreverent use of scripture quotations, and loose wit, are not to be overlooked, but there was no advocacy of atheism in it. Indeed we must look upon Rabelais as acting the part of a reformer. If he had sought simply popularity and the favor of the court and church, he would certainly not have written a book which is a scathing attack upon pope, prelate, and monk. ”

“ Rabelais is the wondrous mask of ancient comedy detached from the Greek proscenium, from bronze made flesh, henceforth a human living face, remaining enormous, and coming among us to laugh at us, and with us. Dante and Rabelais spring from the school of the Franciscan friars, as later Voltaire springs from the Jesuits. Dante the incarnate sorrow, Rabelais the parody, Voltaire the irony,—they came from the Church against the Church. Every genius has his invention or his discovery. ”

“ Some persons have charged Francis Rabelais, the imperial honour of our land, with spiteful tricks and apish pranks, unworthy of his Homeric philosophy, of this prince of wisdom of this fatherly centre, from which have issued since the rising of his subterranean light a good number of marvellous works. Out upon those who would defile this divine head! All their life long may they find grit between their teeth, those who have ignored his good and moderate nourishment. ”

“ As for the extreme theory of the anti-Rabelaisians, that Rabelais was a “ dirty old blackguard ” who liked filth and wallowed in it from choice, that hardly needs comment. His errors in this way are of course, looked at from an absolute standard, unpardonable. But judged relatively there are several, we shall not say excuses, but explanations of them. In the first place, the comparative indecency of Rabelais has been much exaggerated by persons unfamiliar with early French literature. ”

“ The style of Rabelais is tempered with a finish, a neatness, and a wit that are as truly the product of the modern spirit as was the flamboyant jollity of Rabelais the product of his own Renaissance age; the sensible, historical foreground of a Motley becomes the coloured background to a romantic drama of human vice and virtue, linked in its turn to a conception of the cosmic process which has no other home, surely, than in the author’s brain. ”

“ Rabelais loves goodness, charity, truth; he pleads for the right of manhood to a full and free development of all its powers; and if questions of original sin and divine grace trouble him little, and his creed has some of the hardihood of the Renaissance, he is full of filial gratitude to le bon Dieu for His gift of life, and of a world in which to live strongly should be to live joyously.
The influence of Rabelais is seen in the writers of prose tales who were his contemporaries and successors; but they want his broad good sense and real temperance. ”

“ But these vagaries are not only unjustifiable; they are entirely unnecessary. No one reading Rabelais without parti pris, but with a good knowledge of the history and literature of his own times and the times which preceded him, can have much difficulty in appreciating his book. He had evidently during his long and studious sojourn in the cloister (a sojourn which was certainly not less than five-and-twenty years, while it may have been five-and-thirty, and of which the studiousness rests not on legend but on documentary evidence) acquired a vast stock of learning. ”

“ NO NAME in literature has been more generally cited than that of Rabelais; and never, perhaps, has one been cited with so much ignorance and injustice. Thus, to some minds he is merely a drunken, cynical old monk, with a mind disordered and fantastic, as obscene as it is ingenious, dangerous in its ideas and revolting in their expression. To others he is a practical philosopher, gentle and moderate; sceptical, certainly, but, after all, an honest man of reputable life. ”

“ Rabelais is priest. Castigation, properly understood, begins at home; it is therefore on the clergy that he strikes first. It is something, indeed, to be at home! The Papacy dies of indigestion. Rabelais plays the Papacy a trick,—the trick of a Titan. The Pantagruelian joy is not less grandiose than the mirth of a Jupiter,—jaw for jaw. The monarchical and priestly jaw eats; the Rabelaisian jaw laughs. Whoever has read Rabelais has forever before his eyes this stem opposition: the mask of Theocritus gazed at fixedly by the mask of Comedy.
13. Another, Cervantes, is also a form of epic mockery ”

“ Nay more, women and girls have aspired to that praise and celestial manna of good instruction.
What is pierced here is not medieval ignorance, but Renaissance complacency. The pedantry that Rabelais satirizes is of both ages. His quarrel with the Sorbonne of his own day may have been edged by the banning of Pantagruel. The book was banned as obscene. It is obscene. Let us no longer pretend that he attacked obscurantism [209] as a champion of enlightenment. For whatever his motive, Rabelais remained singularly detached. He was far from being an apostle of enlightenment, or of anything else. ”

“ 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 ”

“ The form of it was pretty well prescribed by the old romances of adventure, and must be taken as given to Rabelais, not as invented by him for a special purpose; a war, a quest, these are the subjects of every story in verse and prose for five centuries, and Rabelais followed the stream. But when he had thus got his main theme settled, he gave the widest licence of comment, allusion, digression, and adaptation to his own fancy and his own intellect. ”

“ From the uncomfortable birth of Gargantua to the triumphant recessional scene from the Oracle of the Bottle, proofs are to be found in every book, every chapter almost, and indeed almost every page; and a little more detail may be given on this head later. But the presentation of Rabelais as a novelist-before-novels may cause more demur, and even suggest the presence of the now hopelessly discredited thing—paradox itself. Of course, if anybody requires regular plot as a necessary constituent, only paradox could contend for that. ”

“ Our good lord St. Francis moves!" But a cunning old friar, who knew when miracles might and might not be rationally expected in that convent, ran into the chapel and drew out the merry saint, and the brothers laid their knotted cords so vigorously across his naked shoulders that he had a lively sense of not being made of wood. That was Rabelais! He was a natural laugh-compeller. He laughed at every thing, and set his countrymen laughing at every thing. But there were no men who oftener provoked his derision than the monks. ”

“ There you have all his learning; his work is the institutes of pleasure as the fine art; the finest art there is; the art of all arts. Rabelais had all science, but he had all life too. And we have gone a long way since his time. You are enlightened, I think; you do not consider all the petty rules and by-laws that a corrupt society has made for its own selfish convenience as the immutable decrees of the eternal. ”

“ Rabelais was in principle a reformer, but of a humour {Pg 33} too light and careless to embark seriously in the great cause.
No writer has had more contemptuous depreciators and enthusiastic admirers: his book has been called a farrago of impurity, blasphemy, and trash; a masterpiece of wit, pleasantry, erudition, and philosophy, composed in a charming style. An unqualified judgment for or against him would mislead. The most valuable opinions of him are those of his own countrymen, since the French language and literature have attained their highest cultivation. ”

“ The detractors of Rabelais's book may be more easily justified than his {Pg 34} admirers. The favour which it obtained in his lifetime, and the popularity which it has maintained through three centuries, may be ascribed to other causes besides its merits. It had the attraction of satire, malice, and mystery, which all were at liberty to expound at their pleasure; and many, doubtless, read it for its ribald buffooneries. There is in it, at the same time, a fund of wit, humour, and invention—a rampant, resistless gaiety, which gives an amusing and humorous turn to the most outrageous nonsense. ”

“ It is safe to say that never, no, not even in the boundless license of the comedy of Aristophanes, was more flagrant indecency, and indecency proportionately more redundant in volume, perpetrated in literature, than was done by Rabelais. Indecency, however, it is, rather than strict lasciviousness. Rabelais sinned against manners more than he sinned against 33 morals. But his obscenity is an ocean, without bottom or shore. Literally, he sticks at nothing that is coarse. ”

“ As with all great writers, what he shows is in great part characteristic of humanity at all times and in all places, but, as also with all great writers except Shakespeare, more of it is local and temporary merely. This local and temporary element gives him his great historical importance. Rabelais is the literary exponent of the earlier Renaissance, with its appetite for the good things of the world as yet unblunted. ”

“ What had made Greece and the Athenians laugh was worth transporting to Paris.
With an instrument so rich, resources so endless, and the skill to use them, it is no wonder that he could give voice to anything, be as humorous as he could be serious, as comic as he could be grave, that he could express himself and everybody else, from the lowest to the highest. He had every colour on his palette, and such skill was in his fingers that he could depict every variety of light and shade.
We have evidence that Rabelais did not always write in the same fashion. ”