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Another papal authorization—this time to legitimize two children of Rabelais's —reveals that Rabelais could not recognize all the rules of monastic life, but this is not tantamount to saying that he could not recognize the tenets of the Church.
Although Gargantua followed Pantagruelin order of publication, all modern editions place it at the beginning of the novel since the events it relates predate those of Pantagruel.
The creation of Gargantua, the story of Pantagruel's father, attests to the success of the first volume. Rabelais, following the example of many medieval writers of chansons de geste, expands his material through a portrait of the hero's antecedents. The rapprochement with medieval literature is not gratuitous. Judging by the light and simple nature of Pantagruel, where traces of Rabelais's important themes are not always evident, it seems unlikely that the writer foresaw the volumes to follow or even the serious use to which his novel might be put.
It would also be incorrect to portray Pantagruel as devoid of any controversial material. The Sorbonne condemned both books. Pantagruel is not just Panurge's wild jokes or the fantastic war between the Dipsodes and Amaurotes. In portraying Pantagruel's adventures with legal cases and debating, Rabelais good-heartedly satirizes the bumbling "learned, " so contemptible to the humanists. Contemporary religious questions keep reappearing and no doubt explain the Sorbonne's condemnation.
Before a battle, Pantagruel promises God that if he is victorious, he will have God's word preached "purely, simply and wholly, so that the abuses of a host of hypocrites and false prophets will be eradicated from [his] land. Mention should be made as well of Gargantua's letter to Pantagruel, in which the father contrasts the ignorance of his day with the new learning.
It shows that the idea of a renaissance in France at this time was common among the humanists themselves. There are striking contrasts between Pantagruel and Gargantua. Although both discuss religion and war, Gargantua gives these subjects an extended treatment in which Rabelais's serious thoughts direct the discussion instead of appearing sporadically as in Pantagruel. The reader first learns how Gargantua was taught by a scholastic theologian changed in later editions to "sophist".
Gargantua studies those texts long discredited by humanist scholarship and proves his worth by learning to memorize texts backward. Under other sophists, he rises late, spends little time on studies or exercising but eats, drinks, and hears from 6 to 30 Masses. Then Gargantua receives a tutor schooled in the new humanist and religious thought. The tutor consults a doctor so that Gargantua's regime will benefit body as well as mind. The boy rises early and reads a page of the Scriptures.
During the day not an hour is lost as the pupil strives to learn his lessons clearly and to absorb the great variety of skills required of a "renaissance man. He still emphasized memorization, and there can be no doubt about the continued importance of religion. His reform affects more the methods of education than its aims. The battles against Picrochole are intended to show Rabelais's hatred of war.
War is portrayed as interrupting more important pursuits, such as learning, and having an irrational basis. When Picrochole has been defeated, an entire chapter is devoted to Gargantua's treatment of the vanquished.
His acts embody Christian charity. Only the King's evil minister and two instigators of the war receive a punishment a very humanist punishment : they turn Gargantua's printing press! The text upholds neither interpretation. Religion is hardly absent from this abbey that also is not for everyone, and the inclusion of the aristocrat probably says more about Rabelais's association a traditional one of nobility of birth with nobility of soul than about his attitude toward original sin.
The same year he gave an anatomy lesson at Lyons. Firm traces of Rabelais now become increasingly difficult to find. The kindness of Jean du Bellay permitted him to visit Rome a third time, where he appeared definitely in That year saw published in Lyons a partial edition of the Quart livre. The full edition was printed in When, in January , Rabelais signed away the rights to two ecclesiastical posts, he performed his last certain act.
The Tiers livre contains much of Rabelais's most obscure writing. The romanesque battle scenes and the general hilarity of gigantic exploits no longer furnish him with a narrative line, although Pantagruel and Gargantua appear in the book. Even Panurge, the impish, amoral prankster of the first volume, shares the less funny and more disquieting quality of the Tiers livre, for which he provides a central theme. Panurge wonders whether he should marry and whether his wife will deceive him.
The book enumerates all the efforts expended by Panurge to help him make a decision. The complexity of the Tiers livre resides primarily in the portrait of Panurge.
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