(Rabelais) - the greatest French satirist and one of the brightest representatives Renaissance in France. Rabelais was born around 1494, in Chinon, a small town in the province of Touraine, and had a rather stormy biography. His father, belonging to the petty bourgeoisie, in order to give his son the opportunity to build a career, sent him to a neighboring abbey, and then to a monastery, where Rabelais received an ordinary monastic education and thoroughly studied Latin language, and then moved to the Franciscan monastery in Poitou and accepted the priesthood there (1520).
Portrait of Francois Rabelais
But Rabelais' natural inclinations attracted him much more to the activities of a humanist than a monk. He began to study astronomy and Greek language achieved a thorough acquaintance with law, entered into acquaintances and correspondence with outstanding scientific humanists. Having then taken the place of secretary to a bishop, Rabelais with even greater zeal began to study languages and natural Sciences(botany, chemistry). Subsequently, he received the degree of Doctor of Medicine (1537), practiced in Lyon, and occasionally gave lectures (by the way, among the first, on anatomy on corpses); gained a reputation as an eloquent lecturer and a skillful physician. Francois Rabelais died in 1553.
A talented and versatile scientist of his time, Rabelais (who later shed his monk's cassock) owes, however, his worldwide fame not to scientific works, and a large satirical novel, which he began to publish in parts from 1532–33 under the pseudonym Alcofribas Nazier (an anagram of his name). The first part was called " Life of Gargantua" Taking as the basis for the novel the adventures of the hero of medieval French fairy tales - the hero Gargantua, Rabelais, under the cover of this random material, began to write a satire on the entire religious, political and social system of his time, from the position of a humanist. He predicted that the medieval system should be replaced by new beginnings.
Persecuted for his satire, Rabelais led a wandering life. He visited Rome twice, obtained forgiveness from Pope Paul III for his offenses, and at the end of his life he became a priest in the city of Meudon.
Francois Rabelais's novel was written in fits and starts and does not have a definite consistent plan. The second part of it (“Panagruel”) is connected with the first only in an external way. The same can be said about next parts, of which the third came out almost 14 years later, and the fifth only after the death of Rabelais himself. But these shortcomings of external composition are abundantly compensated by the vitality of the novel’s content, by the merciless wit with which it is imbued. This is the reason that Rabelais's novel "Gargantua and Pantagruel" went through about 60 editions only in XVI century, causing either prohibitions from the Sorbonne and curses of preachers, or privileges for printing and sales from kings.
Rabelais's satire is clothed in a mythological and allegorical form. Its weapon is Homeric laughter, colossality in everything: in figures, in vices, in cynicism. Francois Rabelais is a cheerful idealist, praising all the joys of life, advocating for harmonious development spirit and flesh. With his figurative, richly nuanced language, Rabelais had a great influence on the development of French literature.
(Rabelais, Francois) (c. 1494 c. 1553), the largest representative of the literature of the French Renaissance, famous author of satirical narratives Gargantua (Gargantua) And Pantagruel (Pantagruel). Born, according to some scientists, in 1483, according to others, in 1494; Most biographers are inclined to the second opinion. It was believed that his father was an innkeeper, but this legend has long been refuted: he was a court official, i.e. belonged to the enlightened middle class, to which the French Renaissance owed so much. Antoine Rabelais owned lands in Touraine near Chinon; in one of his estates, Ladeviniere, Francois was born.
It remains unclear how and for what reasons he is so early age(presumably in 1511) entered the monastery. The motives that forced him to give preference to the Franciscan monasteries are also mysterious. These monasteries at that time remained aloof from humanistic aspirations and even the study of Greek was considered a concession to heresy. Bishop Geoffroy d'Estissac, who sympathized with humanism, from the nearby Benedictine abbey of Malieze, took Francois and his friend Pierre Amy as his secretaries.
In 1530, while remaining in clergy, Rabelais appeared in the famous medical school in Montpellier and within six weeks he was ready to take his bachelor’s exams; there is no doubt that he had practiced medicine before. Two years later he became a doctor at the city hospital in Lyon. In those days Lyon was major center book trade. At fairs, among folk books, one could find adaptations of medieval novels about the deeds of giants and all kinds of miracles, for example Big Chronicles(author unknown) . The success of this story of a family of giants prompted Rabelais to take up own book. In 1532 he published The terrible and terrifying deeds and exploits of the illustrious Pantagruel (Horribles et espouantables faicts et prouesses du tres renommé Pantagruel). The book was immediately condemned by the guardians of orthodox dogma, including the Sorbonne and the theological faculty of the University of Paris. In response, Rabelais removed several hot-tempered expressions (like “the Sorbonne donkey”) and, putting aside the old fables, wrote a striking satire that left no doubt about his intentions in the future. It was a book about Gargantua, "the father of Pantagruel." The giants remained in it, as did numerous echoes of the skirmish that took place in 1534. During that period, many of Rabelais’ friends were imprisoned, expelled, or faced even more deplorable fates. The highly influential diplomat Jean Du Bellay, a cardinal and envoy in Rome, took Rabelais with him to Rome several times and obtained from the pope a complete forgiveness for the sins against church discipline that his friend had committed in the old days (Absolution January 17, 1536).
Until 1546, Rabelais wrote little: he spent a lot of time working on the works presented at doctorate, received in 1537. There is a known case when his letters were intercepted and he retired to Chambery for a while. Third book (Tiers Live), describing the new adventures of Pantagruel, was condemned, like the previous ones. High-ranking friends came to the rescue. Cardinal Du Bellay secured for Rabelais the parishes of Saint-Martin de Meudon and Saint-Christophe de Jambais. Cardinal Audet de Chatillon received royal approval for publication Fourth book (Quart Livre), which did not prevent the Sorbonne and the Parisian parliament from condemning it as soon as it was published in 1552.
In his writings, Rabelais demonstrates the exceptional richness of tonality from Gargantua's message to his son ( Pantagruel, ch. VII) to places where the titles themselves can hardly be reproduced without gaps indicated by dots. Rabelais's originality was most clearly manifested in his unusually colorful and lush style. In his works on medicine one can still feel the influence of Galen and Hippocrates. One of the most famous French physicians, he owed much of his reputation to the fact that he was able to interpret Greek texts, as well as to anatomical sessions, which to some extent foreshadowed the methods laboratory research. His philosophy cannot be called particularly original either. On the contrary, the writings of Rabelais are a true find for the diligent lover of identifying sources and borrowings. Often the narrative is only a few lines long and the page is almost completely filled with notes. This commentary, partly linguistic, was made up of scientific sources, the speech of the common people, including dialects, jargon different classes, as well as Greek and Latin tracing paper widespread in that era.
Gargantua And Pantagruel called novels. Indeed, their composition was greatly influenced by the chivalric romances that were popular at that time. Rabelais also begins the story with the birth of his hero, who, of course, is born “in a very strange way.” Then traditionally there are chapters on childhood and upbringing in adolescence; the hero is raised by both adherents of the Middle Ages and the Renaissance. Education in the spirit of the latter evokes only admiration in the author, while education in the spirit of the Middle Ages evokes nothing but contempt. When Gargantua confiscates the Cathedral bells Notre Dame of Paris, the Faculty of Theology of the University of Paris sends a delegation to him in order to return them. The head of this delegation, Master Ianotus de Bragmardo, is described with evil mockery. In sharp contrast to this feeble-minded old man stands the well-mannered, bright-minded Gargantua, whose appearance is as impeccable as his Latin. Among his assistants, perhaps the most interesting is Brother Jean, very similar to Brother Tuck from the ballads about Robin Hood. Brother Jean is the embodiment of an ideal that is close to the author’s heart, just as he was close to Erasmus of Rotterdam: he is a monk who by no means neglects a living, active life, who knows how to stand up for his monastery in both word and deed.
IN Pantagruele, following Gargantua(although it was published earlier), the borrowings from folklore that formed the basis of the story are much more obvious. The giant hero, obsessed with a thirst for adventure, was directly transferred to the story from popular print books sold at fairs in Lyon and Frankfurt. His birth also occurs “in a very strange manner” and is described with numerous obstetric details. The story of how this enormous miracle of nature grew is just as colorful, but gradually the author begins to pay the main attention to intellectual aspirations in the spirit of the Renaissance. The scene of the acquaintance with Panurge, who recommends himself by making speeches in many languages, is indicative, an episode precisely calculated with the aim of causing laughter among the public belonging to the circles of humanists, where they might find German difficult, but distinguished between Greek and Hebrew if the speaker demonstrated “true the gift of rhetoric." In the same book (Chapter VIII) we find a letter written in the style of Cicero to Pantagruel, testifying to how passionately people then believed in the advent of a new era.
Having appeared in the story, Panurge will remain in it until the very end. Third book is structured in such a way that he is constantly in the center of the action, discussing either economic topics (the benefits of debt) or women (should he get married?). When the story comes to the marriage of Panurge, Rabelais forces him to seek advice from one character or another, so that different groups of people. Their opinions are not at all convincing, and Panurge decides to resort to the advice of the oracle of the Divine Bottle, so that the book ends on a note both ironic and bitter.
Book Four completely devoted to Pantagruel's journey, which represents both a pilgrimage in the medieval spirit and a Renaissance experience of knowledge, partly in imitation of Jacques Cartier, who described his travels, or the numerous “cosmographies” of that time. The combination of medieval and Renaissance elements in Rabelais should not surprise the reader. The same ambivalence characterizes other details of his narrative. The journey begins with an evangelical, almost Protestant ceremony, but, on the other hand, we have before us the old habit of giving allegorical names to the various islands that the expedition visits (like the islands of Papemans and Papefigs). So that this geographical fantasy does not dry out, names are even taken from Hebrew, such as the island of Ganabim (plural from the word ganab thief). It is strange that the inventive and resilient Panurge gradually becomes an unsympathetic character, as, for example, in the famous storm at sea scene, when he behaves like a coward, in contrast to Brother Jean, with his fortitude, control of the situation and knowledge of seamanship.
IN The fourth book the journey is not completed. Fifth book ends with a scene at the oracle of the Divine Bottle, whose mysterious word is interpreted as “trink”, i.e. as an invitation to drink from the cup of knowledge. Thus, the ending of the entire work takes on an optimistic tone - the characters are full of hope that a new era is ahead.
Fifth book appeared in two versions shortly after the death of Rabelais. The debate about whether it is a fake has been going on for a long time. The fact that Fifth book cannot be unconditionally recognized as the creation of Rabelais, complicates the understanding and assessment of his views. Even from those parts of the work for which there is no doubt about the authorship, it is difficult to judge what the author’s attitude towards religion was. Nowadays it is generally accepted that he was a follower of Erasmus, i.e. wished church reforms, but not separation from Rome. The hostility to monasticism is explained not only by an aversion to asceticism, but also by the intense polemics at that time that went on in the monasteries themselves between adherents of humanism and zealots of medieval orders. Rabelais thought about this polemic when mockingly describing the library of the monastery of St. Victor ( Pantagruel, chapter VII), in which the shelves are lined with books with comic titles (like "Shoes of Patience").
Rabelais's last years are shrouded in mystery. It may never be clear why he abandoned his parishes so soon after he received them. Nothing is known with certainty about his death, except for the epitaphs of the poets Jacques Tayuro and Pierre de Ronsard, the latter sounding strange and not complimentary in tone. Both epitaphs appeared in 1554. Even about the burial place of Rabelais nothing can be said for sure. It is traditionally believed that he is buried in the cemetery of St. Paul's Cathedral in Paris.
Evnina E. Francois Rabelais. M., 1948
Pinsky L. Rabelais's laughter. In the book: Pinsky L. Realism of the Renaissance. M., 1961
Bakhtin M.M. The works of Francois Rabelais and folk culture Middle Ages and Renaissance. M., 1965
Rabelais F. Gargantua and Pantagruel. M., 1973
Rabelais Francois (February 4, 1494 - April 3, 1553), the largest representative of the literature of the French Renaissance, the famous author of the satirical stories Gargantua and Pantagruel. Born, according to some scientists, in 1483, according to others - in 1494; Most biographers are inclined to the second opinion. It was believed that his father was an innkeeper, but this legend has long been refuted: he was a court official, i.e. belonged to the enlightened middle class, to which the French Renaissance owed so much. Antoine Rabelais owned lands in Touraine near Chinon; in one of his estates, Ladeviniere, Francois was born.
It remains unclear how and for what reasons he entered the monastery at such an early age (presumably in 1511). The motives that forced him to give preference to the Franciscan monasteries are also mysterious. These monasteries at that time remained aloof from humanistic aspirations and even the study of Greek was considered a concession to heresy. Bishop Geoffroy d'Estissac, who sympathized with humanism, from the nearby Benedictine abbey of Malieze, took Francois and his friend Pierre Amy as his secretaries.
A man's mind is stronger than his fists.
Rabelais Francois
In 1530, while remaining in the clergy, Rabelais appeared at the famous medical school in Montpellier and within six weeks was ready to take the bachelor's exams - there is no doubt that he had practiced medicine before. Two years later he became a doctor at the city hospital in Lyon. In those days, Lyon was a major center of book trade. At fairs, among folk books, one could find adaptations of medieval novels about the deeds of giants and all kinds of miracles, for example, the Great Chronicle (author unknown). The success of this story of a family of giants prompted Rabelais to start writing his own book.
In 1532 he published Horrible and Terrifying Deeds and Exploits of the Illustrious Pantagruel (Horribles et espouantables faicts et prouesses du tres renommé Pantagruel). The book was immediately condemned by the guardians of orthodox dogma, including the Sorbonne and the theological faculty of the University of Paris. In response, Rabelais removed several hot-tempered expressions (like “the Sorbonne donkey”) and, putting aside the old fables, wrote a striking satire that left no doubt about his intentions in the future. It was a book about Gargantua, "the father of Pantagruel." The giants remained in it, as did numerous echoes of the skirmish that took place in 1534. During that period, many of Rabelais’ friends were imprisoned, expelled, or faced even more deplorable fates. The highly influential diplomat Jean Du Bellay, a cardinal and envoy in Rome, took Rabelais with him to Rome several times and obtained from the pope a complete forgiveness for the sins against church discipline that his friend had committed in the old days (Absolution January 17, 1536).
Until 1546, Rabelais wrote little: he spent a lot of time working on the essays submitted for his doctorate, received in 1537. There is a known case when his letters were intercepted and he retired to Chambery for a while. The third book (Tiers Livre), describing the new adventures of Pantagruel, was condemned, like the previous ones. High-ranking friends came to the rescue. Cardinal Du Bellay secured for Rabelais the parishes of Saint-Martin de Meudon and Saint-Christophe de Jambais. Cardinal Audet de Chatillon received royal approval for the publication of the Fourth Book (Quart Livre), which did not prevent the Sorbonne and the Parisian parliament from condemning it as soon as it appeared in 1552.
In his writings, Rabelais demonstrates an exceptional richness of tonality - from Gargantua's message to his son (Pantagruel, Chapter VII) to places where the titles themselves can hardly be reproduced without omissions indicated by dots. Rabelais's originality was most clearly manifested in his unusually colorful and lush style. In his works on medicine one can still feel the influence of Galen and Hippocrates. One of the most famous French physicians, he owed much of his reputation to the fact that he was able to interpret Greek texts, as well as to anatomical sessions, which to some extent foreshadowed the methods of laboratory research. His philosophy cannot be called particularly original either. On the contrary, Rabelais's writings are a true find for the diligent lover of identifying sources and borrowings. Often the narrative is only a few lines long and the page is almost completely filled with notes. This commentary, partly linguistic, was made up of scientific sources, the speech of the common people, including dialects, professional jargon of different classes, as well as Greek and Latin - tracing papers common in that era.
Gargantua and Pantagruel are called romances. Indeed, their composition was greatly influenced by the chivalric romances that were popular at that time. Rabelais also begins the story with the birth of his hero, who, of course, is born “in a very strange way.” Then traditionally there are chapters on childhood and upbringing in adolescence - the hero is raised by both adherents of the Middle Ages and the Renaissance. Education in the spirit of the latter evokes only admiration in the author, while education in the spirit of the Middle Ages evokes nothing but contempt. When Gargantua confiscates the bells of Notre Dame Cathedral, the Faculty of Theology of the University of Paris sends a delegation to him to return them. The head of this delegation, Master Ianotus de Bragmardo, is described with evil mockery. In sharp contrast to this feeble-minded old man stands the well-mannered, bright-minded Gargantua, whose appearance is as impeccable as his Latin. Among his assistants, perhaps the most interesting is Brother Jean, very similar to Brother Tuck from the ballads of Robin Hood. Brother Jean is the embodiment of an ideal that is close to the author’s heart, just as he was close to Erasmus of Rotterdam: he is a monk who by no means neglects a living, active life, who knows how to stand up for his monastery in both word and deed.
In Pantagruel, which follows Gargantua (though it is printed earlier), the borrowings from folklore that form the basis of the story are much more obvious. The giant hero, obsessed with a thirst for adventure, was directly transferred to the story from popular print books sold at fairs in Lyon and Frankfurt. His birth also occurs “in a very strange manner” and is described with numerous obstetric details. The story of how this enormous miracle of nature grew is just as colorful, but gradually the author begins to pay the main attention to intellectual aspirations in the spirit of the Renaissance. The scene of the meeting with Panurge, who recommends himself by making speeches in many languages, is indicative - an episode precisely calculated with the aim of causing laughter among the public belonging to the circles of humanists, where they might find German difficult, but distinguished between Greek and Hebrew if the speaker demonstrated “true the gift of rhetoric." In the same book (Chapter VIII) we find a letter written in the style of Cicero to Pantagruel, testifying to how passionately people then believed in the advent of a new era.
G. Presumably he was the son of a tavern owner (some say a pharmacist who was also involved in the drinking trade), who lost his mother at a very early age, or (according to other news) was rejected by her very early and sent to a monastery, which some biographers, with no small stretch, explain the lack of purity, ideality, and tenderness in Rabelais's works.
Straight from the tavern environment, where Rabelais spent the first 10 years of his life, he, by the will of his father, became a student at the Franciscan monastery of Seully, from there to the monastery of De La Baumette, then, also as a student, to the Cordeliers Abbey in Fontenay-le-Comte ( Fontenay le Comte). The news has been preserved that during these transitions he met among his fellow students a young man who later served him as a model for one of the most prominent figures in his novel - the monk Jean de Entomoiard (translated N. M. Lyubimova- Jean Teethbreaker).
Not educated enough to devote himself to one of the “liberal professions,” Rabelais became a monk. What prompted him to do this, by the way, was the opportunity, given a certain material support, to engage in “humanistic” sciences, which at that time, that is, at the height of the Renaissance in France, occupied the most prominent place in the mental life of the French. Monastic life (and mainly - Franciscan Order), to which Rabelais condemned himself at the age of 25, was in sharp contradiction with Rabelais’s nature, which was hostile to all mystical extremes and ascetic mortification of the flesh. His dislike for monasticism was strengthened by ignorance, fanaticism and, at the same time, the idleness and debauchery of those monks among whom he had to live, and who were already giving him precious material for his future satirical images. The more zealously he worked, in a circle of several like-minded people and thanks to relations with prominent figures Renaissance (for example, with Bude), their favorite sciences.
When the displeasure of the monks, which was greatly facilitated by Rabelais' mockery of them, took the form of persecution, Rabelais fled; although he soon returned, a year later he finally left the Franciscan order and transferred to Benedictine. However, he no longer entered the monastery, and as a simple priest lived at the court of the Bishop of Malaises ( Maillezais), Geoffroy d’Estissac, who was distinguished by his education and epicurean inclinations and gathered around him many French “humanists”. It is very likely that the beginning of relations between Rabelais and Erasmus of Rotterdam, for whom he always had the deepest respect, calling him his “father”, even “mother”. The patronage of the bishop, as well as the brothers du Bellay, who played a significant role in the history of the enlightenment of that time and occupied an important position, gave Rabelais the opportunity, without burdening himself with his church duties, to engage in botany and medicine.
Characteristics of creativity
The most remarkable writer of his era, Rabelais is, at the same time, the most faithful and living reflection of it; standing alongside the greatest satirists, he occupies an honorable place between philosophers and educators. Rabelais is completely a man of his time, a man of the Renaissance in his sympathies and affections, in his wandering, almost vagabond life, in the variety of his knowledge and activities. He is a humanist, physician, lawyer, philologist, archaeologist, naturalist, theologian, and in all these spheres - “the most valiant interlocutor at the feast of the human mind.” All the mental, moral and social ferment of his era was reflected in his two great novels.
The model for "Gargantua" was folk book under the same title, which caricatured the obsolete world of knightly exploits, romantic giants and wizards. Subsequent books of both this novel and its sequel, Pantagruel, then appeared successively over several years, in different adaptations; the last, fifth, appeared in full only twelve years after the death of Rabelais.
The shortcomings noticed in it raised doubts about its ownership by Rabelais and various assumptions in this regard, of which the most fundamental is that the plan and general program belong to Rabelais, and even all the main details were outlined by him, and many were completely written by him.
Their external form is mythological and allegorical, which was in the spirit of that time and here constitutes only a frame that the author found most convenient for expressing his cherished thoughts and feelings. The great significance of Rabelais' book (for "Gargantua" and "Pantagruel" constitute one inseparable whole) lies in the combination of the negative and positive sides in it. Before us, in the same person of the author, is a great satirist and a profound philosopher, a hand that mercilessly destroys, creates, and sets positive ideals.
Rabelais's weapon of satire is laughter, gigantic laughter, often monstrous, like his heroes. “He prescribed huge doses of laughter to the terrible social illness that was raging everywhere: everything with him is colossal, cynicism and obscenity, the necessary conductors of any sharp comedy, are also colossal.” This laughter, however, is by no means a goal, but only a means; in essence, what he tells is not at all as funny as it seems, as the author himself points out, adding that his work is similar to Socrates, who, under the appearance of Silenus and in a funny body, lived a divine soul.
A crater is named after Rabelais Mercury.
Editions
Rabelais's works, in parts and together, were published several times:
- the classic edition is Marty-Laveau, published in 1875 under the title: “Oeuvres Complètes de Rabelais”, with notes and dictionary.
- “The Tale of the Glorious Gargantuas, the most terrible giant of all that have hitherto been in the world” (St. Petersburg, 1790), there is an abbreviated translation in the “New Journal” foreign literature"(1898).
- For a detailed description, see Art. Avseenko: “The Origin of the Novel” (“Russian Bulletin”, 1877);
- “Selected passages from Rabelais’s Gargantua and Pantagruelle and Montaigne’s Essays” (Moscow, 1896, translation by S. Smirnov), with an appendix of a sketch of Rabelais’ life.
Bibliography
- Gebhardt, "La renaissance et la réforme" (1877);
- Stapfer, “R., sa personne, son génie, son oeuvre” (1889);
- Mayrargues, "Rabelais"; Arnstädt, "R. und sein Traité d'éducation" (1871).
- P-v. Rabelais, his life and works" // "Russian Thought", 1890. No. 7.
- Anisimov I. I. French classics from the times of Rabelais to Romain Rolland. Articles, essays, portraits. - M.: Khud. Litera, 1977. - 334 p.
- Annenskaya A. F. Rabelais. His life and literary activity"(Pavlenkov Biographical Library).
- Bakhtin M. M. The work of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance. 2nd ed. M. Khud.lit-ra 1990 453 pp.
- Veselovsky A. Rabelais and his novel // “Bulletin of Europe”, 1878. Book. 3.
- Evnina E. M. Francois Rabelais. - M.: OGIZ, 1948. - 344 p.
- Pinsky L. E. Rabelais' laughter // Pinsky L. E. Realism of the Renaissance. - M., 1961.
see also
Links
Essays
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