Classic French Course in English. William Cleaver Wilkinson
Did you ever see a dog with a marrow-bone in his mouth? … Like him, you must, by a sedulous lecture [reading], and frequent meditation, break the bone, and suck out the marrow; that is, my allegorical sense, or the things I to myself propose to be signified by these Pythagorical symbols; … the most glorious doctrines and dreadful mysteries, as well in what concerneth our religion, as matters of the public state and life economical.
Up to this point, the candid reader has probably been conscious of a growing persuasion that this author must be at bottom a serious if also a humorous man—a man, therefore, excusably intent not to be misunderstood as a mere buffoon. But now let the candid reader proceed with the following, and confess, upon his honor, if he is not scandalized and perplexed. What shall be said of a writer who thus plays with his reader?
Do you believe, upon your conscience, that Homer, whilst he was couching his Iliad and Odyssey, had any thought upon those allegories which Plutarch, Heraclides Ponticus, Eustathius, Phornutus, squeezed out of him, and which Politian filched again from them? If you trust it, with neither hand nor foot do you come near to my opinion, which judgeth them to have been as little dreamed of by Homer, as the gospel sacraments were by Ovid, in his Metamorphoses; though a certain gulligut friar, and true bacon-picker, would have undertaken to prove it, if, perhaps, he had met with as very fools as himself, and, as the proverb says, "a lid worthy of such a kettle."
If you give any credit thereto, why do not you the same to these jovial new Chronicles of mine? Albeit, when I did dictate them, I thought thereof no more than you, who possibly were drinking the whilst, as I was. For, in the composing of this lordly book, I never lost nor bestowed any more, nor any other time, than what was appointed to serve me for taking of my bodily refection; that is, whilst I was eating and drinking. And, indeed, that is the fittest and most proper hour, wherein to write these high matters and deep sentences; as Homer knew very well, the paragon of all philologues, and Ennius, the father of the Latin poets, as Horace calls him, although a certain sneaking jobbernol alleged that his verses smelled more of the wine than oil.
Does this writer quiz his reader, or, in good faith, give him a needed hint? Who shall decide?
We have let our first extract thus run on to some length, both for the reason that the passage is as representative as any we could properly offer of the quality of Rabelais, and also for the reason that the key of interpretation is here placed in the hand of the reader, for unlocking the enigma of this remarkable book. The extraordinary horse-play of pleasantry, which makes Rabelais unreadable for the general public of to-day, begins so promptly, affecting the very prologue, that we could not present even that piece of writing entire in our extract. We are informed that the circulation in England of the works of Rabelais, in translation, has been interfered with by the English government, on the ground of their indecency. We are bound to admit, that, if any writings whatever were to be suppressed on that ground, the writings of Rabelais are certainly entitled to be of the number. 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 morals. But his obscenity is an ocean, without bottom or shore. Literally, he sticks at nothing that is coarse. Nay, this is absurdly short of expressing the fact. The genius of Rabelais teems with invention of coarseness, beyond what any one could conceive as possible, who had not taken his measure of possibility from Rabelais himself. And his diction was as opulent as his invention.
Such is the character of Rabelais the author. What, then, was it, if not fondness for paradox, that could prompt Coleridge to say, "I could write a treatise in praise of the moral elevation of Rabelais' works, which would make the church stare and the conventicle groan, and yet would be truth, and nothing but the truth"? If any thing besides fondness for paradox inspired Coleridge in saying this, it must, one would guess, have been belief on his part in the allegorical sense hidden deep underneath the monstrous mass of the Rabelaisian buffoonery. A more judicial sentence is that of Hallam, the historian of the literature of Europe: "He [Rabelais] is never serious in a single page, and seems to have had little other aim, in his first two volumes, than to pour out the exuberance of his animal gayety."
The supply of animal gayety in this man was something portentous. One cannot, however, but feel that he forces it sometimes, as sometimes did Dickens those exhaustless animal spirits of his. A very common trick of the Rabelaisian humor is to multiply specifications, or alternative expressions, one after another, almost without end. From the second book of his romance—an afterthought, probably, of continuation to his unexpectedly successful first book—we take the last paragraph of the prologue, which shows this. The veracious historian makes obtestation of the strict truth of his narrative, and imprecates all sorts of evil upon such as do not believe it absolutely. We cleanse our extract a little:—
And, therefore, to make an end of this Prologue, even as I give myself to an hundred thousand panniers-full of fair devils, body and soul, … in case that I lie so much as one single word in this whole history; after the like manner, St. Anthony's fire burn you, Mahoom's disease whirl you, the squinance with a stitch in your side, and the wolf in your stomach truss you, the bloody flux seize upon you, the cursed sharp inflammations of wild fire, as slender and thin as cow's hair strengthened with quicksilver, enter into you, … and, like those of Sodom and Gomorrha, may you fall into sulphur, fire, and bottomless pits, in case you do not firmly believe all that I shall relate unto you in this present Chronicle.
So much for Rabelais's prologues. Our readers must now see something of what, under pains and penalties denounced so dire, they are bound to believe. We condense and defecate for this purpose the thirty-eighth chapter of the first book, which is staggeringly entitled, "How Gargantua did eat up Six Pilgrims in a Sallad":—
The story requireth that we relate that which happened unto six pilgrims, who came from Sebastian near to Nantes; and who, for shelter that night, being afraid of the enemy, had hid themselves in the garden upon the chickling peas, among the cabbages and lettuces. Gargantua, finding himself somewhat dry, asked whether they could get any lettuce to make him a salad; and, hearing that there were the greatest and fairest in the country—for they were as great as plum trees, or as walnut trees—he would go thither himself, and brought thence in his hand what he thought good, and withal carried away the six pilgrims, who were in so great fear that they did not dare to speak nor cough. Washing them, therefore, first at the fountain, the pilgrims said one to another, softly, "What shall we do? We are almost drowned here amongst these lettuce: shall we speak? But, if we speak, he will kill us for spies." And, as they were thus deliberating what to do, Gargantua put them, with the lettuce, into a platter of the house, as large as the huge tun of the White Friars of the Cistertian order; which done, with oil, vinegar, and salt, he ate them up, to refresh himself a little before supper, and had already swallowed up five of the pilgrims, the sixth being in the platter, totally hid under a lettuce, except his bourbon, or staff, that appeared, and nothing else. Which Grangousier [Gargantua's father] seeing, said to Gargantua, "I think that is the horn of a shell snail: do not eat it."—"Why not?" said Gargantua; "they are good all this month:" which he no sooner said, but, drawing up the staff, and therewith taking up the pilgrim, he ate him very well, then drank a terrible draught of excellent white wine. The pilgrims, thus devoured, made shift to save themselves, as well as they could, by drawing their bodies out of the reach of the grinders of his teeth, but could not escape from thinking they had been put in the lowest dungeon of a prison. And, when Gargantua whiffed the great draught, they thought to have drowned in his mouth, and the flood of wine had almost carried them away into the gulf of his stomach. Nevertheless, skipping with their bourbons, as St. Michael's palmers used to do, they sheltered themselves from the danger of that inundation under the banks of his teeth. But one of them, by chance, groping, or sounding the country with his staff, to try whether they were in safety or no, struck hard against the cleft of a hollow tooth, and hit the mandibulary sinew or nerve of the jaw, which put Gargantua to very great pain, so that he began to cry for the rage that he felt. To ease himself, therefore, of his smarting ache, he called for his tooth-picker, and, rubbing towards a young walnut-tree, where they lay skulking, unnestled you my gentlemen pilgrims. For he caught one by the legs, another by the scrip, another