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.
A still stranger fact of this sort may be given to show how nothing came amiss to him. He must have known, and even copied the Latin Chronicle of the Counts of Anjou. It is accepted, and rightly so, as an historical document, but that is no reason for thinking that the truth may not have been manipulated and adorned. The Counts of Anjou were not saints. They were proud, quarrelsome, violent, rapacious, and extravagant, as greedy as they were charitable to the Church, treacherous and cruel. Yet their anonymous panegyrist has made them patterns of all the virtues. In reality it is both a history and in some sort a romance; especially is it a collection of examples worthy of being followed, in the style of the Cyropaedia, our Juvenal of the fifteenth century, and a little like Fenelon’s Telemaque. Now in it there occurs the address of one of the counts to those who rebelled against him and who were at his mercy. Rabelais must have known it, for he has copied it, or rather, literally translated whole lines of it in the wonderful speech of Gargantua to the vanquished. His contemporaries, who approved of his borrowing from antiquity, could not detect this one, because the book was not printed till much later. But Rabelais lived in Maine. In Anjou, which often figures among the localities he names, he must have met with and read the Chronicles of the Counts in manuscript, probably in some monastery library, whether at Fontenay-le-Comte or elsewhere it matters little. There is not only a likeness in the ideas and tone, but in the words too, which cannot be a mere matter of chance. He must have known the Chronicles of the Counts of Anjou, and they inspired one of his finest pages. One sees, therefore, how varied were the sources whence he drew, and how many of them must probably always escape us.
When, as has been done for Moliere, a critical bibliography of the works relating to Rabelais is drawn up—which, by the bye, will entail a very great amount of labour—the easiest part will certainly be the bibliography of the old editions. That is the section that has been most satisfactorily and most completely worked out. M. Brunet said the last word on the subject in his Researches in 1852, and in the important article in the fifth edition of his Manuel du Libraire (iv., 1863, pp. 1037–1071).
The facts about the fifth book cannot be summed up briefly. It was printed as a whole at first, without the name of the place, in 1564, and next year at Lyons by Jean Martin. It has given, and even still gives rise to two contradictory opinions. Is it Rabelais’ or not?
First of all, if he had left it complete, would sixteen years have gone by before it was printed? Then, does it bear evident marks of his workmanship? Is the hand of the master visible throughout? Antoine Du Verdier in the 1605 edition of his Prosopographie writes: ‘(Rabelais’) misfortune has been that everybody has wished to “pantagruelize!” and several books have appeared under his name, and have been added to his works, which are not by him, as, for instance, l’Ile Sonnante, written by a certain scholar of Valence and others.’
The scholar of Valence might be Guillaume des Autels, to whom with more certainty can be ascribed the authorship of a dull imitation of Rabelais, the History of Fanfreluche and Gaudichon, published in 1578, which, to say the least of it, is very much inferior to the fifth book.
Louis Guyon, in his Diverses Lecons, is still more positive: ‘As to the last book which has been included in his works, entitled l’Ile Sonnante, the object of which seems to be to find fault with and laugh at the members and the authorities of the Catholic Church, I protest that he did not compose it, for it was written long after his death. I was at Paris when it was written, and I know quite well who was its author; he was not a doctor.’ That is very emphatic, and it is impossible to ignore it.
Yet everyone must recognize that there is a great deal of Rabelais in the fifth book. He must have planned it and begun it. Remembering that in 1548 he had published, not as an experiment, but rather as a bait and as an announcement, the first eleven chapters of the fourth book, we may conclude that the first sixteen chapters of the fifth book published by themselves nine years after his death, in 1562, represent the remainder of his definitely finished work. This is the more certain because these first chapters, which contain the Apologue of the Horse and the Ass and the terrible Furred Law-cats, are markedly better than what follows them. They are not the only ones where the master’s hand may be traced, but they are the only ones where no other hand could possibly have interfered.
In the remainder the sentiment is distinctly Protestant. Rabelais was much struck by the vices of the clergy and did not spare them. Whether we are unable to forgive his criticisms because they were conceived in a spirit of raillery, or whether, on the other hand, we feel admiration for him on this point, yet Rabelais was not in the least a sectary. If he strongly desired a moral reform, indirectly pointing out the need of it in his mocking fashion, he was not favourable to a political reform. Those who would make of him a Protestant altogether forget that the Protestants of his time were not for him, but against him. Henri Estienne, for instance, Ramus, Theodore de Beze, and especially Calvin, should know how he was to be regarded. Rabelais belonged to what may be called the early reformation, to that band of honest men in the beginning of the sixteenth century, precursors of the later one perhaps, but, like Erasmus, between the two extremes. He was neither Lutheran nor Calvinist, neither German nor Genevese, and it is quite natural that his work was not reprinted in Switzerland, which would certainly have happened had the Protestants looked on him as one of themselves.
That Rabelais collected the materials for the fifth book, had begun it, and got on some way, there can be no doubt: the excellence of a large number of passages prove it, but—taken as a whole—the fifth book has not the value, the verve, and the variety of the others. The style is quite different, less rich, briefer, less elaborate, drier, in parts even wearisome. In the first four books Rabelais seldom repeats himself. The fifth book contains from the point of view of the vocabulary really the least novelty. On the contrary, it is full of words and expressions already met with, which is very natural in an imitation, in a copy, forced to keep to a similar tone, and to show by such reminders and likenesses that it is really by the same pen. A very striking point is the profound difference in the use of anatomical terms. In the other books they are most frequently used in a humorous sense, and nonsensically, with a quite other meaning than their own; in the fifth they are applied correctly. It was necessary to include such terms to keep up the practice, but the writer has not thought of using them to add to the comic effect: