A History of the French Novel Volume I Part 10

Esprit abstraict, ravy et ecstatique,

(perhaps the best example of _rhetoriqueur_ poetry), at the beginning, and the last sight (except in letters) of Gargantua at the end, with the curious _coda_ on the "herb Pantagruelion" (the ancestor of Joseph de Maistre's famous eulogy of the Executioner), give, as it were, handle and top to it in unique fashion. But the body of it is the thing. The preliminary outrunning of the constable--had there been constables in Salmigondin, but they probably knew the story of the Seigneur of Basche too well--and the remarkable difference between the feudatory and his superior on the subject of debt, serve but as a whet to the project of matrimony which the debtor conceives. Of course, Panurge is the very last man whom a superficial observer of humanity--the very first whom a somewhat profounder student thereof--would take as a marrying one. He is "a little failed"; he thinks to rest himself while not foregoing his former delights, and he shuts eyes and ears to the proverb, as old as Greek in words and as old as the world in fact, that "the doer shall suffer." That he should consult Pantagruel is in the circ.u.mstances almost a necessity, and Pantagruel's conduct is exactly what one would expect from that good-natured, learned, admirable, but rather enigmatic personage. Merely "aleatory" decision--by actual use of dice--he rejects as illicit, though towards the close of the book one of its most delectable episodes ends in his excusing Mr. Justice Bridoye for settling law cases in that way. But he recommends the _sortes Virgilianae_, and he, others, and Panurge himself add the experiment of dreams, and the successive consultation of the Sibyl of Panzoust, the dumb Nazdecabre, the poet Raminagrobis, Epistemon, "Her Trippa," Friar John himself, the theologian Hippothadee, the doctor Rondibilis, the philosopher Trouillogan, and the professional fool Triboulet. No reader of the most moderate intelligence can need to be told that the counsellors opine all in the same sense (unfavourable), though with more or less ambiguity, and that Panurge, with equal obstinacy and ingenuity, invariably twists the oracles according to his own wishes. But what no reader, who came fresh to Rabelais and fasting from criticism on him, could antic.i.p.ate, is the astonishing spontaneity of the various dealings with the same problem, the zest and vividness of the whole thing, and the unceasing shower of satire on everything human--general, professional, and individual--which is kept up throughout. There is less pure extravagance, less mere farce, and (despite the subject) even less "sculduddery" than in any other Book; but also in no other does Rabelais "keep up with humanity" (somewhat, indeed, in the fashion in which a carter keeps up with his animal, running and lashing at the same time) so triumphantly.

In no book, moreover, are the curious intervals--or, as it were, prose choric odes--of interruption more remarkable. Pantagruel's own serious wisdom supplies not a few of them, and the long and very characteristic episode of Judge Bridoye and his decision by throw of dice is very loosely connected with the main subject. But the most noteworthy of these excursions comes, as has been said, at the end--the last personal appearance of the good Gargantua, and the famous discourse, several chapters long, on the Herb Pantagruelion, otherwise Hemp.

[Sidenote: _Pantagruel_ III. (IV.) The first part of the voyage.]

The Fourth Book (Third of _Pantagruel_) starts the voyage, and begins to lead the commentator who insists on fixing and interpreting the innumerable real or apparent double, treble, and almost centuple meanings, into a series of dances almost illimitable. As has been suggested more than once, the most reasonable way is probably to regard the whole as an intentional mixture of covert satire, pure fooling, not a little deliberate leading astray, and (serving as vehicle and impelling force at once) the irresistible narrative impulse animating the writer and carrying the reader on to the end--any end, if it be only the Other End of Nowhere. The "curios," living and other, of Medamothi (Nowhere to begin with!), and the mysterious appearance of a shipful of travellers coming back from the Land of Lanterns, whither the Pantagruelian party is itself bound; the rather too severely punished ill-manners of the sheep-dealer Dindenault; the strange isles of various nature--such, especially, as the abode of the bailiffs and process-servers, which gives occasion to the admirably told story of Francois Villon and the Seigneur of Basche; the great storm--another of the most famous pa.s.sages of the book--with the cowardice of Panurge and the safe landing in the curious country of the Macreons (long-livers); the evil island where reigns Quaresmeprenant, and the elaborate a.n.a.lysis of that personage by the learned Xenomanes; the alarming Physeter (blowing whale) and his defeat by Pantagruel; the land of the Chitterlings, the battle with them, and the interview and peace-making with their Queen Niphleseth (a pa.s.sage at which the sculduddery-hunters have worked their hardest), and then the islands of the Papefigues and the Papimanes, where Rabelais begins his most obvious and boldest meddling with the great ecclesiastical-political questions of the day--all these things and others flit past the reader as if in an actual voyage. Even here, however, he rather skirts than actually invades the most dangerous ground. It is the Decretals, not the doctrines, that are satirised, and Homenas, bishop of Papimania, despite his adoration of these forgeries, and the slightly suspicious number and prettiness of the damsels who wait upon him, is a very good fellow and an excellent host. There is something very soothing in his metaphorical way of demanding wine from his Hebes, "_Clerice_, esclaire icy," the necessary illumination being provided by a charming girl with a hanap of "extravagant" wine. These agreeable if satiric experiences--for the Decretals do no harm beyond exciting the bile of Master Epistemon (who, it is to be feared, was a little of a pedant)--are followed by the once more almost universally known pa.s.sage of the "Frozen Words" and the visit to "Messer Gaster, the world's first Master of Arts"; by the islands (once more mysterious) of Chaneph (hypocrisy) and Ganabin (thieves); the book concluding abruptly with an ultra-farcical _cochonnerie_ of the lower kind, relieved partially by a libellous but impossible story about our Edward the _Fifth_ and the poet Villon again, as well as by the appearance of an interesting but not previously mentioned member of the crew of the _Thalamege_ (Pantagruel's flagship), the great cat Rodilardus.

[Sidenote: _Pantagruel_ IV. (Book V.) The second part of the voyage. The "Isle Sonnante."]

[Sidenote: The "Chats Fourres."]

One of the peculiarities of the Fifth Book, and perhaps one of those which have aroused that suspicion about it which, after what has been said above, it is not necessary further to discuss, is that it is more "in blocks" than the others.[105] The eight chapters of the _Isle Sonnante_ take up the satire of the Fourth Book on Papimania and on the "Papegaut," who is here introduced in a much fiercer tone--a tone which, if one cared for hypothetical criticism, might be attributed with about equal probability to a genuine deepening of hostile feeling, to absence of revision, and to possible sophistication by some one into whose hands it fell between the author's death and its publication. But a perfectly impartial critic, who, on the one hand, does not, in Carlyle's admirable phrase, "regard the Universe as a hunting-field from which it were good and pleasant to drive the Pope," and, on the other, is content to regard the extremer Protestants as singularly unpleasant persons without p.r.o.nouncing Ernulphus-curses on them, may perhaps fail to find in it either the cleverest or the most amusing part of the voyage. The episode of the next Isle--that _des Ferrements_--is obscure, whether it is or is not (as the commentators were sure to suggest) something else beginning with "obsc-," and the succeeding one, with its rocks fashioned like gigantic dice, is not very amusing. But the terrible country of the _Chats Fourres_ and their chief Grippeminaud--an attack on the Law as unsparing as, and much more vivid than that on the Church in the overture--may rank with the best things in Rabelais. The tyrant's ferocious and double-meaning catchword of _Or ca!_ and the power at his back, which even Pantagruel thinks it better rather to run away from than to fight openly, which Panurge frankly bribes, and over which even the reckless and invincible Friar John obtains not much triumph, except that of cutting up, after buying it, an old woman's bed--these and the rest have a grim humour not quite like anything else.

[Sidenote: "La Quinte."]

The next section--that of the Apedeftes or Uneducated Ones[106]--has been a special object of suspicion; it is certainly a little difficult, and perhaps a little dull. One is not sorry when the explorers, in the ambiguous way already noted, "_pa.s.sent_ _Oultre_," and, after difficulties with the wind, come to "the kingdom of Quintessence, named Entelechy." Something has been said more than once of this already, and it is perhaps unnecessary to say more, or indeed anything, except to those who themselves "hold of La Quinte," and who for that very reason require no talking about her. "We" (if one may enrol oneself in their company) would almost rather give up Rabelais altogether than sacrifice this delightful episode, and abandon the idea of having the ladies of the Queen for our partners in Emmelie, and Calabrisme, and the thousand other dances, of watching the wonderful cures by music, and the interesting process of throwing, not the house out of the window, but the window out of the house, and the miraculous and satisfactory transformation of old ladies into young girls, with very slight alteration of their former youthful selves, and all the charming topsyturvifications of Entelechy. Not to mention the gracious if slightly unintelligible speeches of the exquisite princess, when clear Hesperus shone once more, and her supper of pure nectar and ambrosia (not grudging more solid viands to her visitors), and the great after-supper chess-tournament with living pieces, and the "invisible disparition" of the lady, and the departure of the fortunate visitors themselves, duly inscribed and registered as Abstractors of Quintessence. The whole is like a good dream, and is told so as almost to be one.

Between this and the final goal of the Country of Lanterns the interest falls a little. The island of "Odes" (not "poems" but "ways"), where the "walks walk" (_les chemins cheminent_); that of "Esclots" ("clogs"), where dwell the Freres Fredonnants, and where the attack on monkery is renewed in a rather unsavoury and rather puerile fashion; and that of Satin, which is a sort of Medamothi rehandled, are not first-rate--they would have been done better, or cut out, had the book ever been issued by Master Francis. But the arrival at and the sojourn in Lanternia itself recovers the full powers of Rabelais at his best, though one may once more think that some of the treatment might have been altered in the case just mentioned.

[Sidenote: The conclusion and The Bottle.]

Apart from the usual mixture of serious and purely jocular satire, of learning and licence, of jargonic catalogues, of local references to Western France and the general topography of Utopia, this conclusion consists of two main parts--first, a most elaborate description of the Temple, containing underground the Oracle of the Bottle, to which the pilgrims are conducted by a select "Lantern," and of its priestess Bacbuc, its _adytum_ with a fountain, and, in the depth and centre of all, the sacred Bottle itself; and secondly, the ceremonies of the delivery of the Oracle; the divine utterance, _Trinq!_ its interpretation by Bacbuc; the very much _ad libitum_ reinterpretations of the interpretation by Panurge and Friar John, and the dismissal of the pilgrims by the priestess, _Or allez de par Dieu, qui vous conduise!_[107]

What, it may be asked, is the object of this c.u.mbrous a.n.a.lysis of certainly one of the most famous and (as it at least should be) one of the best known books of the world? That object has been partly indicated already; but it may be permissible to set it forth more particularly before ending this chapter. Of the importance, on the one hand, of the acquisition by the novel of the greatest known and individual writer of French up to his date, and of the enormous popularity of this example of it, enough may have been said. But the abstract has been given, and the further comment is now added, with the purpose of showing, in a little detail, how immensely the resources and inspirations of future pract.i.tioners were enriched and strengthened, varied and multiplied, by _Gargantua_ and _Pantagruel_. The book as a whole is to be cla.s.sed, no doubt, as "Eccentric" fiction. But if you compare with Rabelais that one of his followers[108] who possessed most genius and who worked at his following with most deliberation, you will find an immense falling off in richness and variety as well as in strength. The inferiority of Sterne to Master Francis in his serious pieces, whether he is whimpering over dead donkeys and dying lieutenants, or simulating honest indignation against critics, is too obvious to need insistence. Nor can one imagine any one--unless, like Mackenzie and other misguided contemporaries or juniors, he himself wanted to whimper, or unless he also aimed at the _fatrasie_--going to Sterne for pattern or inspiration. Now Rabelais is a perpetual fount of inspiration, an inexhaustible magazine of patterns to the most "serious" novelist whose seriousness is not of the kind designated by that term in dissenting slang. That abounding narrative faculty which has been so much dwelt on touches so many subjects, and manages to carry along with it so many moods, thoughts, and even feelings, that it could not but suggest to any subsequent writer who had in him the germ of the novelist's art, how to develop and work out such schemes as might occur to him. While, for his own countrymen at least, the vast improvement which he made in French prose, and which, with the accomplishment of his younger contemporaries Amyot and Montaigne, established the greatness of that prose itself, was a gain, the extent of which cannot be exaggerated. Therefore it has seemed not improper to give him a chapter to himself, and to treat his book with a minuteness not often to be paralleled in this _History_.[109]

FOOTNOTES:

[90] A complete argument on this much vexed subject can hardly be wished for here: but it may be permitted to say that nearly fifty years'

consideration of the matter has left less and less doubt in my mind as to the genuineness of the "_Quart_" or "_Quint_" _Livre_ as it is variously called--according as _Gargantua_ is numbered separately or not. One of the apparently strongest arguments against its genuineness--the constant presence of "_Je_" in the narrative--really falls, with the others--the fiercer and more outspoken character of the satire, the somewhat lessened prominence of Pantagruel, etc.

etc.--before one simple consideration. We know from the dates of publication of the other books that Rabelais was by no means a rapid writer, or at any rate that, if he wrote rapidly, he "held up" what he did write long, and pretty certainly rewrote a good deal. Now the previous Book had appeared only a short time before what must have been the date of his death; and this could not, according to a.n.a.logy and precedent, have been ready, or anything like ready, when he died. On the other hand, time enough pa.s.sed between his death and the publication (even of the _Ile Sonnante_ fragment) for the MS. to have pa.s.sed through other hands and to have been adulterated, even if it was not, when the Master's hands left it, in various, as well as not finally finished form. I can see nothing in it really inconsistent with the earlier Books; nothing unworthy of them (especially if on the one hand possible meddling, and on the other imperfect revision be allowed for); and much, especially the _Chats Fourres_, the Quintessence part, and the Conclusion, without which the whole book would be not only incomplete but terribly impoverished. I may add that, having a tolerably full knowledge of sixteenth-century French literature, and a great admiration of it, I know no single other writer or group of other writers who could, in my critical judgment, by any reasonable possibility have written this Book. Francois Rabelais could have done it, and I have no doubt that he did it; though whether we have it as he left it no man can say.

[91] It is perhaps hardly necessary, but may not be quite idle, to observe that our Abstractor of Quintessence takes good care not to quote the other half of the parallelism, "but the prudent looketh well to his going."

[92] It is possible, but not certain, that he is playing on the two senses of the word _apparence_, the ambiguity of which is not so great in English. The A. V., "evidence of things _not seen_," would not have suited his turn.

[93] In which, it will be remembered, the "liquor called punch," which one notes with sorrow that Rabelais knew not, but which he certainly would have approved, is also "nowhere spoken against."

[94] Original "Sibyle." I owe to Prof. Ker an important reminder (which I ought not to have needed) of Dante's "Sibilia" in the famous "Ulysses"

pa.s.sage, _Inf._ xxvi. 110.

[95] The Turkish corsair, not the German Emperor.

[96] Probably erected into a kingdom in honour of St. Augustine.

[97] _Pa.s.sant oultre_--one of Rabelais' favourite and most _polymorphic_ expressions. It has nearly always an ironical touch in it; and it enjoys a chapter all to itself in that mood--V. xvii.

[98] Perhaps this _a gauche_ might make as good a short test as any of a reader's sense of humour. But here also a possible Dantean reminiscence (not suggested to me this time) comes in; for in the lines already quoted "dalla man _destra_" occurs.

[99] The King is, however, more difficult to satisfy on this point than on others; and objects with a delightful _preterite_, "Yes: but we _did not get_ our wine fresh and cool"; whereat they rebuke him with a respectful reminder that great conquerors cannot be always entirely comfortable.

[100] "Suspender of judgment."

[101] Of course the first book of the son _preceded_ the reconstructed history of the father; but this is immaterial.

[102] The correct opposition of this term (Latin or Greek words vernacularised) to "Macaronic" (vernacular words turned into Latin or Greek form) is not always observed.

[103] It is very seldom, after his infantine and innocent excesses, that Pantagruel behaves thus. He is for the most part a quiet and somewhat reserved prince, very generous, very wise, very devout, and, though tolerating the eccentricities of Panurge and Friar John, never taking part in them.

[104] If Swift had drunk more wine and had not put water in what he did drink, possibly this quality might have been lessened in _him_.

[105] The first of these, the _Isle Sonnante_, as is well enough known to all students, appeared separately and before the rest.

[106] A sort of dependency or province of the _Chats Fourres_.

[107] A MS. "addition" unknown to the old printed forms, appears in some modern ones. It is a mere disfigurement: and is hardly likely even to have been a rejected draft.

[108] Not Swift here, but Sterne. There is far higher genius in _Gulliver_ than in _Shandy_; but the former is not _fatrasie_, the latter is.

[109] That the not quite unknown device of setting up a man of straw in order to knock him down has not been followed in this chapter, a single piece of evidence out of many may be cited. H. Korting in his justly well reputed _Geschichte des Franz. Romans im XVII. Jahrh._ (Oppeln u.

Leipzig, 1891, i. 133 _note_) would rule Rabelais out of the history of the novel altogether. This book, which will be quoted again with grat.i.tude later, displays a painstaking erudition not necessitating any make-weight of sympathy for its author's early death after great suffering. It is extremely useful; but it does not escape, in this and other places, the censure which, ten years before the war of 1914, the present writer felt it his duty to express on modern German critics and literary historians generally (_History of Criticism_, London, 1904, vol. iii. Bks. viii. and ix.), that on points of literary appreciation, as distinguished from mere philology, "enumeration," bibliographical research, and the like, they are "sadly to seek." It may not be impertinent to add that Herr Korting's history happened never to have been read by me till after the above chapter of the present book was written.

CHAPTER VII

THE SUCCESSORS OF RABELAIS AND THE INFLUENCE OF THE "AMADIS" ROMANCES

In the present chapter we shall endeavour to treat two divisions of actual novel- or at least fiction-writing--strikingly opposed to each other in character; and a third subject, to include which in the t.i.tle would have made that t.i.tle too long, and which is not strictly a branch of novel-_writing_, but which had perhaps as important an influence on the progress of the novel itself as anything mentioned or to be mentioned in all this _History_. The first division is composed of the followers--sometimes in the full, always in the chronological sense--of Rabelais, a not very strong folk as a rule, but including one brilliant example of co-operative work, and two interesting, if in some degree problematical, persons. The second, strikingly contrasting with the general if not the universal tendency of the first, is the great translated group of _Amadis_ romances, which at once revived romance of the older kind itself, and exercised a most powerful, if not an actually generative, influence on newer forms which were themselves to pa.s.s into the novel proper. The third is the increasing body of memoir- and anecdote-writers who, with Brantome at their head, make actual personages and actual events the subjects of a kind of story-telling, not perhaps invariably of unexceptionable historic accuracy, but furnishing remarkable situations of plot and suggestions of character, together with abundant new examples of the "telling" faculty itself.

[Sidenote: Subsidiary importance of Brantome and other character-mongers.]

The last point, as an apparent digression but really a most important contribution to the History, may perhaps be discussed and dismissed first. All persons who have even a slight knowledge of French literature must be aware how early and how remarkable are its possessions in what is vaguely called the "Memoir" department. There is nothing at the time, in any modern literature known to the present writer, similar to Villehardouin, or a little later to Joinville,--one might almost say that there is nothing in any literature at any time superior, if there be anything equal, in its kind to Froissart. In the first two cases there is pure personal experience; in the third there is, of course, a certain amount of precedent writing on the subject for guidance, and a large gathering of information by word of mouth. But in all these, and to a less extent in others up to the close of the fifteenth century, there is the indefinable gift of treatment--of "telling a story." In Villehardouin this gift may be almost wholly, and in principle very mainly, limited to the two great subjects which made the mediaeval end as far as profane matters were concerned--fighting and counselling; but this is by no means the case in Froissart, whom one is sometimes tempted to regard as a Sir Walter Scott thrown away upon base reality.

With the sixteenth century this gift once more burgeoned and spread itself out--dealing, indeed, very mainly with the somewhat ungrateful subject of the religious disputes and wars, but flowering or fruiting into the unsurpa.s.sable gossip--though gossip is too undignified a word--of Pierre de Bourdeilles, Abbe de Brantome, that Froissart and Pepys in one, with the n.o.ble delight in n.o.ble things of the first, inextricably united to the almost innocent shamelessness of the second, and a narrative gift equal to that of either in idiosyncrasy, and ranging beyond the subjects of both. Himself a soldier and a courtier (his abbacy, like many others, was purely t.i.tular and profitable--not professional in the least), his favourite subjects in literature, and obviously his idols in life, were great soldiers and fair ladies, "Bayard and the two Marguerites," as some one has put it. And his vivid irregular fashion of writing adapts itself with equal ease to a gallant feat of arms and a ferocious, half-cut-throat duel, to an exquisite piece of sentimental pa.s.sion like that which tells us the story how the elder Queen of Navarre rebuked the lover carelessly stepping over the grave of his dead mistress, and to an unquotable anecdote to parallel the details of which, in literature of high rank, one must go to Rabelais himself, to Martial, or to Aristophanes. But, whatever the subject, the faculty of lively communication remains unaltered, and the suggestion of its transference from fact (possibly a little coloured) to pure fiction becomes more and more possible and powerful.[110]

[Sidenote: The _Heptameron_.]

No book has been more subject to the "insupportable advances" of the "key"-monger than the _Heptameron_, and the rage for identifying has gone so far that the pretty old name of "Emarsuite" for one of the characters has been discarded for an alleged and much uglier "Ennasuite," which is indeed said to have MS. authority, but which is avowedly preferred because it can be twisted into "_Anne_ a Suite"

("Anne in Waiting"), and so can be fastened to an actual Maid of Honour of Marguerite's. It is only fair, however, to admit that something of the kind is at least suggested by the book itself. Even by those who do not trouble themselves in the least about the personages who may or may not have been disguised under the names of Nomerfide (the Neifile of this group) and Longarine, Saffredent and Dagoucin and Gebron (Geb_u_ron they call him now), admit the extreme probability of the Queen having invited identification of herself with Parlamente, the younger matron of the party, and of Hircan her husband with the King of Navarre.[111] But some (among whom is the present writer) think that this delightful and not too well-fated type of Renaissance amorousness, letteredness, and piety combined made a sort of dichotomy of herself here, and intended the personage of Oisille, the elder duenna (though by no means a very stern one) of the party, to stand for her as well as Parlamente--to whom one really must give the Italian p.r.o.nunciation to get her out of the abominable suggestion of our "talking-machine."

[Sidenote: Character and "problems."]