Gargantua and Pantagruel, Complete.

F >> Francois Rabelais >> Gargantua and Pantagruel, Complete.


On his return to England he entered the service of Charles I., who knighted
him in 1641. Next year, after the death of his father, he went to Scotland
to set his family affairs in order, and to redeem his house in Cromarty.
But, in spite of another sojourn in foreign lands, his efforts to free
himself from pecuniary embarrassments were unavailing. At the king's death
his Scottish loyalty caused him to side with those who opposed the
Parliament. Formally proscribed in 1649, taken prisoner at the defeat of
Worcester in 1651, stripped of all his belongings, he was brought to
London, but was released on parole at Cromwell's recommendation. After
receiving permission to spend five months in Scotland to try once more to
settle his affairs, he came back to London to escape from his creditors.
And there he must have died, though the date of his death is unknown. It
probably took place after 1653, the date of the publication of the two
first books, and after having written the translation of the third, which
was not printed from his manuscript till the end of the seventeenth
century.

His life was therefore not without its troubles, and literary activity must
have been almost his only consolation. His writings reveal him as the
strangest character, fantastic, and full of a naive vanity, which, even at
the time he was translating the genealogy of Gargantua--surely well
calculated to cure any pondering on his own--caused him to trace his
unbroken descent from Adam, and to state that his family name was derived
from his ancestor Esormon, Prince of Achaia, 2139 B.C., who was surnamed
Ourochartos, that is to say the Fortunate and the Well-beloved. A Gascon
could not have surpassed this.

Gifted as he was, learned in many directions, an enthusiastic
mathematician, master of several languages, occasionally full of wit and
humour, and even good sense, yet he gave his books the strangest titles,
and his ideas were no less whimsical. His style is mystic, fastidious, and
too often of a wearisome length and obscurity; his verses rhyme anyhow, or
not at all; but vivacity, force and heat are never lacking, and the
Maitland Club did well in reprinting, in 1834, his various works, which are
very rare. Yet, in spite of their curious interest, he owes his real
distinction and the survival of his name to his translation of Rabelais.

The first two books appeared in 1653. The original edition, exceedingly
scarce, was carefully reprinted in 1838, only a hundred copies being
issued, by an English bibliophile T(heodore) M(artin), whose interesting
preface I regret to sum up so cursorily. At the end of the seventeenth
century, in 1693, a French refugee, Peter Antony Motteux, whose English
verses and whose plays are not without value, published in a little octavo
volume a reprint, very incorrect as to the text, of the first two books, to
which he added the third, from the manuscript found amongst Urquhart's
papers. The success which attended this venture suggested to Motteux the
idea of completing the work, and a second edition, in two volumes, appeared
in 1708, with the translation of the fourth and fifth books, and notes.
Nineteen years after his death, John Ozell, translator on a large scale of
French, Italian, and Spanish authors, revised Motteux's edition, which he
published in five volumes in 1737, adding Le Duchat's notes; and this
version has often been reprinted since.

The continuation by Motteux, who was also the translator of Don Quixote,
has merits of its own. It is precise, elegant, and very faithful.
Urquhart's, without taking liberties with Rabelais like Fischart, is not
always so closely literal and exact. Nevertheless, it is much superior to
Motteux's. If Urquhart does not constantly adhere to the form of the
expression, if he makes a few slight additions, not only has he an
understanding of the original, but he feels it, and renders the sense with
a force and a vivacity full of warmth and brilliancy. His own learning
made the comprehension of the work easy to him, and his anglicization of
words fabricated by Rabelais is particularly successful. The necessity of
keeping to his text prevented his indulgence in the convolutions and
divagations dictated by his exuberant fancy when writing on his own
account. His style, always full of life and vigour, is here balanced,
lucid, and picturesque. Never elsewhere did he write so well. And thus
the translation reproduces the very accent of the original, besides
possessing a very remarkable character of its own. Such a literary tone
and such literary qualities are rarely found in a translation. Urquhart's,
very useful for the interpretation of obscure passages, may, and indeed
should be read as a whole, both for Rabelais and for its own merits.

Holland, too, possesses a translation of Rabelais. They knew French in
that country in the seventeenth century better than they do to-day, and
there Rabelais' works were reprinted when no editions were appearing in
France. This Dutch translation was published at Amsterdam in 1682, by J.
Tenhoorn. The name attached to it, Claudio Gallitalo (Claudius
French-Italian) must certainly be a pseudonym. Only a Dutch scholar could
identify the translator, and state the value to be assigned to his work.

Rabelais' style has many different sources. Besides its force and
brilliancy, its gaiety, wit, and dignity, its abundant richness is no less
remarkable. It would be impossible and useless to compile a glossary of
Voltaire's words. No French writer has used so few, and all of them are of
the simplest. There is not one of them that is not part of the common
speech, or which demands a note or an explanation. Rabelais' vocabulary,
on the other hand, is of an astonishing variety. Where does it all come
from? As a fact, he had at his command something like three languages,
which he used in turn, or which he mixed according to the effect he wished
to produce.

First of all, of course, he had ready to his hand the whole speech of his
time, which had no secrets for him. Provincials have been too eager to
appropriate him, to make of him a local author, the pride of some village,
in order that their district might have the merit of being one of the
causes, one of the factors of his genius. Every neighbourhood where he
ever lived has declared that his distinction was due to his knowledge of
its popular speech. But these dialect-patriots have fallen out among
themselves. To which dialect was he indebted? Was it that of Touraine, or
Berri, or Poitou, or Paris? It is too often forgotten, in regard to French
patois--leaving out of count the languages of the South--that the words or
expressions that are no longer in use to-day are but a survival, a still
living trace of the tongue and the pronunciation of other days. Rabelais,
more than any other writer, took advantage of the happy chances and the
richness of the popular speech, but he wrote in French, and nothing but
French. That is why he remains so forcible, so lucid, and so living, more
living even--speaking only of his style out of charity to the others--than
any of his contemporaries.

It has been said that great French prose is solely the work of the
seventeenth century. There were nevertheless, before that, two men,
certainly very different and even hostile, who were its initiators and its
masters, Calvin on the one hand, on the other Rabelais.

Rabelais had a wonderful knowledge of the prose and the verse of the
fifteenth century: he was familiar with Villon, Pathelin, the Quinze Joies
de Mariage, the Cent Nouvelles, the chronicles and the romances, and even
earlier works, too, such as the Roman de la Rose. Their words, their turns
of expression came naturally to his pen, and added a piquancy and, as it
were, a kind of gloss of antique novelty to his work. He fabricated words,
too, on Greek and Latin models, with great ease, sometimes audaciously and
with needless frequency. These were for him so many means, so many
elements of variety. Sometimes he did this in mockery, as in the humorous
discourse of the Limousin scholar, for which he is not a little indebted to
Geoffroy Tory in the Champfleury; sometimes, on the contrary, seriously,
from a habit acquired in dealing with classical tongues.

Again, another reason of the richness of his vocabulary was that he
invented and forged words for himself. Following the example of
Aristophanes, he coined an enormous number of interminable words, droll
expressions, sudden and surprising constructions. 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.
The Chronique Gargantuaine is uniform in style and quite simple, but cannot
with certainty be attributed to him. His letters are bombastic and thin;
his few attempts at verse are heavy, lumbering, and obscure, altogether
lacking in harmony, and quite as bad as those of his friend, Jean Bouchet.
He had no gift of poetic form, as indeed is evident even from his prose.
And his letters from Rome to the Bishop of Maillezais, interesting as they
are in regard to the matter, are as dull, bare, flat, and dry in style as
possible. Without his signature no one would possibly have thought of
attributing them to him. He is only a literary artist when he wishes to be
such; and in his romance he changes the style completely every other
moment: it has no constant character or uniform manner, and therefore
unity is almost entirely wanting in his work, while his endeavours after
contrast are unceasing. There is throughout the whole the evidence of
careful and conscious elaboration.

Hence, however lucid and free be the style of his romance, and though its
flexibility and ease seem at first sight to have cost no trouble at all,
yet its merit lies precisely in the fact that it succeeds in concealing the
toil, in hiding the seams. He could not have reached this perfection at a
first attempt. He must have worked long at the task, revised it again and
again, corrected much, and added rather than cut away. The aptness of form
and expression has been arrived at by deliberate means, and owes nothing to
chance. Apart from the toning down of certain bold passages, to soften
their effect, and appease the storm--for these were not literary
alterations, but were imposed on him by prudence--one can see how numerous
are the variations in his text, how necessary it is to take account of
them, and to collect them. A good edition, of course, would make no
attempt at amalgamating these. That would give a false impression and end
in confusion; but it should note them all, and show them all, not combined,
but simply as variations.

After Le Duchat, all the editions, in their care that nothing should be
lost, made the mistake of collecting and placing side by side things which
had no connection with each other, which had even been substituted for each
other. The result was a fabricated text, full of contradictions naturally.
But since the edition issued by M. Jannet, the well-known publisher of the
Bibliotheque Elzevirienne, who was the first to get rid of this patchwork,
this mosaic, Rabelais' latest text has been given, accompanied by all the
earlier variations, to show the changes he made, as well as his
suppressions and additions. It would also be possible to reverse the
method. It would be interesting to take his first text as the basis,
noting the later modifications. This would be quite as instructive and
really worth doing. Perhaps one might then see more clearly with what care
he made his revisions, after what fashion he corrected, and especially what
were the additions he made.

No more striking instance can be quoted than the admirable chapter about
the shipwreck. It was not always so long as Rabelais made it in the end:
it was much shorter at first. As a rule, when an author recasts some
passage that he wishes to revise, he does so by rewriting the whole, or at
least by interpolating passages at one stroke, so to speak. Nothing of the
kind is seen here. Rabelais suppressed nothing, modified nothing; he did
not change his plan at all. What he did was to make insertions, to slip in
between two clauses a new one. He expressed his meaning in a lengthier
way, and the former clause is found in its integrity along with the
additional one, of which it forms, as it were, the warp. It was by this
method of touching up the smallest details, by making here and there such
little noticeable additions, that he succeeded in heightening the effect
without either change or loss. In the end it looks as if he had altered
nothing, added nothing new, as if it had always been so from the first, and
had never been meddled with.

The comparison is most instructive, showing us to what an extent Rabelais'
admirable style was due to conscious effort, care, and elaboration, a fact
which is generally too much overlooked, and how instead of leaving any
trace which would reveal toil and study, it has on the contrary a
marvellous cohesion, precision, and brilliancy. It was modelled and
remodelled, repaired, touched up, and yet it has all the appearance of
having been created at a single stroke, or of having been run like molten
wax into its final form.

Something should be said here of the sources from which Rabelais borrowed.
He was not the first in France to satirize the romances of chivalry. The
romance in verse by Baudouin de Sebourc, printed in recent years, was a
parody of the Chansons de Geste. In the Moniage Guillaume, and especially
in the Moniage Rainouart, in which there is a kind of giant, and
occasionally a comic giant, there are situations and scenes which remind us
of Rabelais. The kind of Fabliaux in mono-rhyme quatrains of the old
Aubery anticipate his coarse and popular jests. But all that is beside the
question; Rabelais did not know these. Nothing is of direct interest save
what was known to him, what fell under his eyes, what lay to his hand--as
the Facetiae of Poggio, and the last sermonnaires. In the course of one's
reading one may often enough come across the origin of some of Rabelais'
witticisms; here and there we may discover how he has developed a
situation. While gathering his materials wherever he could find them, he
was nevertheless profoundly original.

On this point much research and investigation might be employed. But there
is no need why these researches should be extended to the region of fancy.
Gargantua has been proved by some to be of Celtic origin. Very often he is
a solar myth, and the statement that Rabelais only collected popular
traditions and gave new life to ancient legends is said to be proved by the
large number of megalithic monuments to which is attached the name of
Gargantua. It was, of course, quite right to make a list of these, to draw
up, as it were, a chart of them, but the conclusion is not justified. The
name, instead of being earlier, is really later, and is a witness, not to
the origin, but to the success and rapid popularity of his novel. No one
has ever yet produced a written passage or any ancient testimony to prove
the existence of the name before Rabelais. To place such a tradition on a
sure basis, positive traces must be forthcoming; and they cannot be adduced
even for the most celebrated of these monuments, since he mentions himself
the great menhir near Poitiers, which he christened by the name of
Passelourdin. That there is something in the theory is possible. Perrault
found the subjects of his stories in the tales told by mothers and nurses.
He fixed them finally by writing them down. Floating about vaguely as they
were, he seized them, worked them up, gave them shape, and yet of scarcely
any of them is there to be found before his time a single trace. So we
must resign ourselves to know just as little of what Gargantua and
Pantagruel were before the sixteenth century.

In a book of a contemporary of Rabelais, the Legende de Pierre Faifeu by
the Angevin, Charles de Bourdigne, the first edition of which dates from
1526 and the second 1531--both so rare and so forgotten that the work is
only known since the eighteenth century by the reprint of Custelier--in the
introductory ballad which recommends this book to readers, occur these
lines in the list of popular books which Faifeu would desire to replace:

'Laissez ester Caillette le folastre,
Les quatre filz Aymon vestuz de bleu,
Gargantua qui a cheveux de plastre.'

He has not 'cheveux de plastre' in Rabelais. If the rhyme had not
suggested the phrase--and the exigencies of the strict form of the ballade
and its forced repetitions often imposed an idea which had its whole origin
in the rhyme--we might here see a dramatic trace found nowhere else. The
name of Pantagruel is mentioned too, incidentally, in a Mystery of the
fifteenth century. These are the only references to the names which up
till now have been discovered, and they are, as one sees, of but little
account.

On the other hand, the influence of Aristophanes and of Lucian, his
intimate acquaintance with nearly all the writers of antiquity, Greek as
well as Latin, with whom Rabelais is more permeated even than Montaigne,
were a mine of inspiration. The proof of it is everywhere. Pliny
especially was his encyclopaedia, his constant companion. All he says of
the Pantagruelian herb, though he amply developed it for himself, is taken
from Pliny's chapter on flax. And there is a great deal more of this kind
to be discovered, for Rabelais does not always give it as quotation. On
the other hand, when he writes, 'Such an one says,' it would be difficult
enough to find who is meant, for the 'such an one' is a fictitious writer.
The method is amusing, but it is curious to account of it.

The question of the Chronique Gargantuaine is still undecided. Is it by
Rabelais or by someone else? Both theories are defensible, and can be
supported by good reasons. In the Chronique everything is heavy,
occasionally meaningless, and nearly always insipid. Can the same man have
written the Chronique and Gargantua, replaced a book really commonplace by
a masterpiece, changed the facts and incidents, transformed a heavy icy
pleasantry into a work glowing with wit and life, made it no longer a mass
of laborious trifling and cold-blooded exaggerations but a satire on human
life of the highest genius? Still there are points common to the two.
Besides, Rabelais wrote other things; and it is only in his romance that he
shows literary skill. The conception of it would have entered his mind
first only in a bare and summary fashion. It would have been taken up
again, expanded, developed, metamorphosed. That is possible, and, for my
part, I am of those who, like Brunet and Nodier, are inclined to think that
the Chronique, in spite of its inferiority, is really a first attempt,
condemned as soon as the idea was conceived in another form. As its
earlier date is incontestable, we must conclude that if the Chronique is
not by him, his Gargantua and its continuation would not have existed
without it. This would be a great obligation to stand under to some
unknown author, and in that case it is astonishing that his enemies did not
reproach him during his lifetime with being merely an imitator and a
plagiarist. So there are reasons for and against his authorship of it, and
it would be dangerous to make too bold an assertion.

One fact which is absolutely certain and beyond all controversy, is that
Rabelais owed much to one of his contemporaries, an Italian, to the
Histoire Macaronique of Merlin Coccaie. Its author, Theophilus Folengo,
who was also a monk, was born in 1491, and died only a short time before
Rabelais, in 1544. But his burlesque poem was published in 1517. It was
in Latin verse, written in an elaborately fabricated style. It is not dog
Latin, but Latin ingeniously italianized, or rather Italian, even Mantuan,
latinized. The contrast between the modern form of the word and its Roman
garb produces the most amusing effect. In the original it is sometimes
difficult to read, for Folengo has no objection to using the most
colloquial words and phrases.

The subject is quite different. It is the adventures of Baldo, son of Guy
de Montauban, the very lively history of his youth, his trial, imprisonment
and deliverance, his journey in search of his father, during which he
visits the Planets and Hell. The narration is constantly interrupted by
incidental adventures. Occasionally they are what would be called to-day
very naturalistic, and sometimes they are madly extravagant.

But Fracasso, Baldo's friend, is a giant; another friend, Cingar, who
delivers him, is Panurge exactly, and quite as much given to practical
joking. The women in the senile amour of the old Tognazzo, the judges, and
the poor sergeants, are no more gently dealt with by Folengo than by the
monk of the Iles d'Hyeres. If Dindenaut's name does not occur, there are
the sheep. The tempest is there, and the invocation to all the saints.
Rabelais improves all he borrows, but it is from Folengo he starts. He
does not reproduce the words, but, like the Italian, he revels in drinking
scenes, junkettings, gormandizing, battles, scuffles, wounds and corpses,
magic, witches, speeches, repeated enumerations, lengthiness, and a
solemnly minute precision of impossible dates and numbers. The atmosphere,
the tone, the methods are the same, and to know Rabelais well, you must
know Folengo well too.

Detailed proof of this would be too lengthy a matter; one would have to
quote too many passages, but on this question of sources nothing is more
interesting than a perusal of the Opus Macaronicorum. It was translated
into French only in 1606--Paris, Gilley Robinot. This translation of
course cannot reproduce all the many amusing forms of words, but it is
useful, nevertheless, in showing more clearly the points of resemblance
between the two works,--how far in form, ideas, details, and phrases
Rabelais was permeated by Folengo. The anonymous translator saw this quite
well, and said so in his title, 'Histoire macaronique de Merlin Coccaie,
prototype of Rabelais.' It is nothing but the truth, and Rabelais, who
does not hide it from himself, on more than one occasion mentions the name
of Merlin Coccaie.

Besides, Rabelais was fed on the Italians of his time as on the Greeks and
Romans. Panurge, who owes much to Cingar, is also not free from
obligations to the miscreant Margutte in the Morgante Maggiore of Pulci.
Had Rabelais in his mind the tale from the Florentine Chronicles, how in
the Savonarola riots, when the Piagnoni and the Arrabiati came to blows in
the church of the Dominican convent of San-Marco, Fra Pietro in the scuffle
broke the heads of the assailants with the bronze crucifix he had taken
from the altar? A well-handled cross could so readily be used as a weapon,
that probably it has served as such more than once, and other and even
quite modern instances might be quoted.

But other Italian sources are absolutely certain. There are few more
wonderful chapters in Rabelais than the one about the drinkers. It is not
a dialogue: those short exclamations exploding from every side, all
referring to the same thing, never repeating themselves, and yet always
varying the same theme. At the end of the Novelle of Gentile Sermini of
Siena, there is a chapter called Il Giuoco della pugna, the Game of Battle.
Here are the first lines of it: 'Apre, apre, apre. Chi gioca, chi gioca
--uh, uh!--A Porrione, a Porrione.--Viela, viela; date a ognuno.--Alle
mantella, alle mantella.--Oltre di corsa; non vi fermate.--Voltate qui;
ecco costoro; fate veli innanzi.--Viela, viela; date costi.--Chi la fa?
Io--Ed io.--Dagli; ah, ah, buona fu.--Or cosi; alla mascella, al fianco.
--Dagli basso; di punta, di punta.--Ah, ah, buon gioco, buon gioco.'

And thus it goes on with fire and animation for pages. Rabelais probably
translated or directly imitated it. He changed the scene; there was no
giuooco della pugna in France. He transferred to a drinking-bout this
clatter of exclamations which go off by themselves, which cross each other
and get no answer. He made a wonderful thing of it. But though he did not
copy Sermini, yet Sermini's work provided him with the form of the subject,
and was the theme for Rabelais' marvellous variations.

Who does not remember the fantastic quarrel of the cook with the poor devil
who had flavoured his dry bread with the smoke of the roast, and the
judgment of Seyny John, truly worthy of Solomon? It comes from the Cento
Novelle Antiche, rewritten from tales older than Boccaccio, and moreover of
an extreme brevity and dryness. They are only the framework, the notes,
the skeleton of tales. The subject is often wonderful, but nothing is made
of it: it is left unshaped. Rabelais wrote a version of one, the ninth.
The scene takes place, not at Paris, but at Alexandria in Egypt among the
Saracens, and the cook is called Fabrac. But the surprise at the end, the
sagacious judgment by which the sound of a piece of money was made the
price of the smoke, is the same. Now the first dated edition of the Cento
Novelle (which were frequently reprinted) appeared at Bologna in 1525, and
it is certain that Rabelais had read the tales. And there would be much
else of the same kind to learn if we knew Rabelais' library.