in the world.
Chapter 5.XXXVI.—How we went down the tetradic steps, and of Panurge’s fear.
Chapter 5.XXXVII.—How the temple gates in a wonderful manner opened of themselves.
Chapter 5.XXXVIII.—Of the Temple’s admirable pavement.
Chapter 5.XXXIX.—How we saw Bacchus’s army drawn up in battalia in mosaic work.
Chapter 5.XLI.—How the temple was illuminated with a wonderful lamp.
Chapter 5.XLIII.—How the Priestess Bacbuc equipped Panurge in order to have the word of the Bottle.
Chapter 5.XLIV.—How Bacbuc, the high-priestess, brought Panurge before the Holy Bottle.
Chapter 5.XLV.—How Bacbuc explained the word of the Goddess-Bottle.
Chapter 5.XLVI.—How Panurge and the rest rhymed with poetic fury.
Chapter 5.XLVII.—How we took our leave of Bacbuc, and left the Oracle of the Holy Bottle.
Introduction.
Had Rabelais never written his strange and marvellous romance, no one would ever have imagined the possibility of its production. It stands outside other things—a mixture of mad mirth and gravity, of folly and reason, of childishness and grandeur, of the commonplace and the out-of-the-way, of popular verve and polished humanism, of mother-wit and learning, of baseness and nobility, of personalities and broad generalization, of the comic and the serious, of the impossible and the familiar. Throughout the whole there is such a force of life and thought, such a power of good sense, a kind of assurance so authoritative, that he takes rank with the greatest; and his peers are not many. You may like him or not, may attack him or sing his praises, but you cannot ignore him. He is of those that die hard. Be as fastidious as you will; make up your mind to recognize only those who are, without any manner of doubt, beyond and above all others; however few the names you keep, Rabelais’ will always remain.
We may know his work, may know it well, and admire it more every time we read it. After being amused by it, after having enjoyed it, we may return again to study it and to enter more fully into its meaning. Yet there is no possibility of knowing his own life in the same fashion. In spite of all the efforts, often successful, that have been made to throw light on it, to bring forward a fresh document, or some obscure mention in a forgotten book, to add some little fact, to fix a date more precisely, it remains nevertheless full of uncertainty and of gaps. Besides, it has been burdened and sullied by all kinds of wearisome stories and foolish anecdotes, so that really there is more to weed out than to add.
This injustice, at first wilful, had its rise in the sixteenth century, in the furious attacks of a monk of Fontevrault, Gabriel de Puy-Herbault, who seems to have drawn his conclusions concerning the author from the book, and, more especially, in the regrettable satirical epitaph of Ronsard, piqued, it is said, that the Guises had given him only a little pavillon in the Forest of Meudon, whereas the presbytery was close to the chateau. From that time legend has fastened on Rabelais, has completely travestied him, till, bit by bit, it has made of him a buffoon, a veritable clown, a vagrant, a glutton, and a drunkard.
The likeness of his person has undergone a similar metamorphosis. He has been credited with a full moon of a face, the rubicund nose of an incorrigible toper, and thick coarse lips always apart because always laughing. The picture would have surprised his friends no less than himself. There have been portraits painted of Rabelais; I have seen many such. They are all of the seventeenth century, and the greater number are conceived in this jovial and popular style.
As a matter of fact there is only one portrait of him that counts, that has more than the merest chance of being authentic, the one in the Chronologie collee or coupee. Under this double name is known and cited a large sheet divided by lines and cross lines into little squares, containing about a hundred heads of illustrious Frenchmen. This sheet was stuck on pasteboard for hanging on the wall, and was cut in little pieces, so that the portraits might be sold separately. The majority of the portraits are of known persons and can therefore be verified. Now it can be seen that these have been selected with care, and taken from the most authentic sources; from statues, busts, medals, even stained glass, for the persons of most distinction, from earlier engravings for the others. Moreover, those of which no other copies exist, and which are therefore the most valuable, have each an individuality very distinct, in the features, the hair, the beard, as well as in the costume. Not one of them is like another. There has been no tampering with them, no forgery. On the contrary, there is in each a difference, a very marked personality. Leonard Gaultier, who published this engraving towards the end of the sixteenth century, reproduced a great many portraits besides from chalk drawings, in the style of his master, Thomas de Leu. It must have been such drawings that were the originals of those portraits which he alone has issued, and which may therefore be as authentic and reliable as the others whose correctness we are in a position to verify.
Now Rabelais has here nothing of the Roger Bontemps of low degree about him. His features are strong, vigorously cut, and furrowed with deep wrinkles; his beard is short and scanty; his cheeks are thin and already worn-looking. On his head he wears the square cap of the doctors and the clerks, and his dominant expression, somewhat rigid and severe, is that of a physician and a scholar. And this is the only portrait to which we need attach any importance.
This is not the place for a detailed biography, nor for an exhaustive study. At most this introduction will serve as a framework on which to fix a few certain dates, to hang some general observations. The date of Rabelais’ birth is very doubtful. For long it was placed as far back as 1483: now scholars are disposed to put it forward to about 1495. The reason, a good one, is that all those whom he has mentioned as his friends, or in any real sense his contemporaries, were born at the very end of the fifteenth century. And, indeed, it is in the references in his romance to names, persons, and places, that the most certain and valuable evidence is to be found of his intercourse, his patrons, his friendships, his sojournings, and his travels: his own work is the best and richest mine in which to search for the details of his life.
Like Descartes and Balzac, he was a native of Touraine, and Tours and Chinon have only done their duty in each of them erecting in recent years a statue to his honour, a twofold homage reflecting credit both on the
