La vie de Gargantua et de Pantagruel PDF ↠ vie de

La vie de Gargantua et de Pantagruel [PDF / Epub] ☉ La vie de Gargantua et de Pantagruel Author François Rabelais – Natus-physiotherapy.co.uk The dazzling and exuberant moral stories of Rabelais c1471 1553 expose human follies with their mischievous and often obscene humour while intertwining the realistic with carnivalesue fantasy to make The dazzling and exuberant moral stories de Gargantua PDF/EPUB Â of Rabelais c expose human follies with their mischievous and often obscene humour while intertwining the realistic with carnivalesue fantasy to make us look afresh at the worldGargantua depicts a young giant reduced to laughable insanity by an education at the hands of paternal ignorance old crones and syphilitic professors who is rescued and turned into a cultured Christian knight And in Pantagruel La vie eBook ↠ and its three seuels Rabelais parodied tall tales of chivalry and satirized the law theology and academia to portray the bookish son of Gargantua who becomes a Renaissance Socrates divinely guided in his wisdom and his idiotic self loving companion Panurge.


10 thoughts on “La vie de Gargantua et de Pantagruel

  1. Nathan "N.R." Gaddis Nathan "N.R." Gaddis says:

    Good fellow pantagruelists join us in our feast Trinck Read Pass another pint of tripe All you pouty agalasts I fart upon you To the devil with you you black beetles you dull and dappled drips Here we make it merry Pantagruelists of goodreads unite You have nothing to lose but the contents of your bowels Trinck Laugh BurstProperly to give Rabelais his due to pursue you and persuade you that as our Good Book says “Pantagrueling is the beginning of wisdom” would reuire the subtlety of a soft shoe but all I have is a flagon of our best vendange Can you do justice to one such as Shakespeare? Is there any word one can say about that great bard? Which hyperbole do you prefer you donkey you aardvark you zebra? So with our French Shakespeare that laughing monk that Doctor of our melancholy his gentle and jovial giants Gargantua and Pantagruel hyperbole says always just never uite what I mean to say is that your logorrhea will never be adeuate to the task Would that in our schools the erudition of such a man were taught that pantagruelian laughter were the curriculum satire of those stodgy dip shits yes those dip shits ran rampant the motto of the Abbey of Thélème “Do what thou wilt” were emblazoned across our grammar books Or one might parody the satirist a task again out of my reach my humility swamped; but we have our own Rabelaisian erudition 21st century style Pynchonian panache; may 78 devils take me could I pantagruel my way to review Herr Magister Rabelais with the proper gargantuan garishness No erudite essayist am I nor parodic peacock; encomia to our First Novelist our Best Novelist a Man of Letters bestriding our centuries the copious stream from his lower belly of littered letters drowning us in laughter he pisses like a horse such encomia would that I could but forget all of that and pass another pint of tripe together we might break a bit of wind Tap another hogshead We’ve got all night for our feast “If on a friend’s bookshelf You cannot find Joyce or Sterne Cervantes Rabelais or Burton Gaddis or Gass Pynchon or McElroy David Foster Wallace William T Vollmann Alexander Theroux or Gilbert Sorrentino You are in danger face the fact So kick him first or punch him hard And from him hide behind a curtain” ― Alexander Theroux Ergänzung von NR Why Rabelais?“With the motto ‘Do What You Will’ Rabelais gave himself permission to do anything he damn well pleased with the language and the form of the novel; as a result every author of an innovative novel mixing literary forms and genres in an extravagant style is indebted to Rabelais directly or indirectly Out of his codpiece came Aneau’s AlectorNashe’s Unfortunate TravellerLópez de Úbeda’s JustinaCervantes’ Don uixoteBéroalde de Verville’s Fantastic TalesSorel’s FrancionBurton’s AnatomySwift’s Tale of a Tub and Gulliver’s TravelsFielding’s Tom JonesAmory’s John BuncleSterne’s Tristram Shandythe novels of Diderot and maybe Voltaire a late convertSmollet’s Adventures of an AtomHoffmann’s Tomcat MurrHugo’s Hunchback of Notre DameSouthey’s DoctorMelville’s Moby DickFlaubert’s Temptation of Saint Anthony and Bouvard and BecuchetTwain’s Adventures of Huckleberry FinnFrederick Rolfe’s ornate novelsBely’s PetersburgJoyce’s UlyssesWitkiewicz’s InsatiabilityBarnes’ Ryder and Ladies AlmanackGombrowicz’s Polish jokesFlann O’Brien’s Irish farcesPhilip Wylie’s Finnley WrenPatchen’s tender novelsBurroughs’s and Kerouac’s mad onesNabokov’s later worksSchmidt’s fictionthe novels of DurrellBurgess especially A Clockwork Orange and Earthly PowersGaddis and PynchonBarthCooverSorrentinoReed’s Mumbo JumboBrossard’s later worksthe masterpieces of Latin American magic realism Paradiso The Autumn of the Patriarch Three Trapped Tigers I the Supreme Avalovara Terra Nostra Palinuro of Mexicothe fabulous creations of those gay Cubans Severo Sarduy and Reinaldo ArenasMarkson’s Springer’s ProgressMano’s Take FiveRíos’s Larva and otros librosthe novels of Paul WestTom RobbinsStanley ElkinAlexander Theroux W M SpackmanAlasdair GrayGaétan Soucy andRikki Ducornet ‘Lady Rabelais’ as one critic called herMark Leyner’s hyperbolic novelsthe writings of Magister GassGreer Gilman’s folkloric fictions andRoger Boylan’s Celtic comediesVollmann’s voluminous volumesWallace’s brainy fictionsSiegel’s Love in a Dead LanguageDanielewski’s novelsJackson’s Half LifeField’s UluluDe La Pava’s Naked Singularity andJames McCourt’s ongoing Mawrdew Czgowchwz saga” from Steven Moore The Novel An Alternate History volume 1 Beginnings to 1600 p330 331The foregoing list which is NOT MY list has now been turned into a Listopia List by Friend Aubrey Go ; and VOTE Here’s the list MA Screech’s translation published by Penguin should be the standard English translation for years to come I had previously read the Burton Raffel translation but was disappointed had a deep suspicion that I was not hearing the full range of Rabelais’ voice; I uickly grabbed Screech's edition Screech provides short introductions to each chapter which identify the context and target of Rabelais' wit points out difficulties involved in the translation such as his handling of puns and wordplays and indicates variations among the various editions published during Rabelais’ lifetime; footnotes are kept to a minimum The principle of this edition seems to be maximal transparency with minimal scholarly intrusions Screech is perhaps the most respected Rabelaisian scholar working in English His translation is smart verbose and rich A life time of Rabelaisian research means that he knows both the letter and spirit of our most sacred pantagrueling For Bakhtin's thesis regarding the carnivalesue Rabelais and His World; an indispensable treatise


  2. Ahmad Sharabiani Ahmad Sharabiani says:

    995 La vie de Gargantua et de Pantagruel Gargantua And Pantagruel Françoise Rabelais The Life of Gargantua and of Pantagruel is a pentalogy of novels written in the 16th century by François Rabelais which tells of the adventures of two giants Gargantua and his son Pantagruel The text is written in an amusing extravagant and satirical vein and features much crudity scatological humor and violence تاریخ نخستین خوانش روز سی ام ماه جولای سال 2011 میلادیادبیات فرانسه، سال نگارش «پانتاگروئل» 1532 میلادی و سال نگارش «گاراگانتوا» سال 1534 میلادی استرابله تا خود را نشناخته ای نه زمین را خواهی شناخت و نه آسمان راشاعر و حکیم سده شانزدهم میلادی، «فرانسوا رابله»، در شاهکار بی پروا و افسانه ی واقعگرای خود، «گاراگانتوا و پانتاگروئل»، عمارتی فلسفی و ادبیاتی بر مبنای خوردن، نوشیدن، شادی و خنده، بنیان نهاده است «رابله»، در رمان پنج جلدی و زننده ی «گاراگانتوا و پانتاگرول»، با تصویر ضیافتهای بزرگ غذا، و نوشیدنی، همراه با شادی بی نظم و قانون، و با تصویر کردن شوخیهای بی ادبانه، همه ی اشکال دورویی و دورنگی را، ناروا میشمارد در سومین جلد از کتاب «گارگانتوا و پانتاگروئل»؛ «پانارژ»، نخستین شخصیت بزرگ رمان، رنج می‌برد که آیا باید ازدواج کند یا نه؟ او با پزشکان، طالع‌ بینان، استادان، شاعران و فیلسوفانی که به نوبه خود، از بقراط، ارسطو، هومر، هراکلیت، و افلاطون، واگویه می‌کنند، به مشورت می‌نشیند اما پس از پژوهشهای پردامنه، که سراسر کتاب را دربرمی‌گیرد، «پانارژ»، همچنان نمی‌داند که باید ازدواج کند یا نه؟ ما، خوانشگران نیز نمی‌دانیم، اما در عوض، از همه ی زاویای ممکن، وضع خنده دار، و در عین حال ساده دلی، کسی را که نمی‌داند، باید ازدواج کند یا نه، انگار خود نیز در روزی روزگاری کاویده‌ ایم؛ ا شربیانی


  3. Mir Mir says:

    You know what philosophy needs? François thought to himself More fart jokes And excrement jokes Also some obscenity blasphemy over eating and sex Ooh and giants But most of all fart jokesPersonally the philosophical discourses were the part I found most interesting but if you think several hundred pages of various characters calling one another prattling gabblers lickorous gluttons freckled bittors mangy rascals shite a bed scoundrels drunken roysters sly knaves drowsy loiterers slapsauce fellows slabberdegullion druggels lubberly louts cozening foxes ruffian rogues paltry customers sycophant varlets drawlatch hoydens flouting milksops jeering companions staring clowns forlorn snakes ninny loblocks scurvy sneaksbies fondling fops base loons saucy coxcombs idle lusks scoffing braggarts noddy meacocks blockish grutnols dollipol joltheads jobbernol goosecaps foolish loggerheads flutch calf lollies grouthead gnat snappers lob dotterels gaping changelings codshead loobies woodcock slangams ninnyhammer flycatchers noddypeak simpletons turdy gut shitten shepherds etc would brighten your weary hours this is the book for you Plus it is a classic so you can claim to be improving your mind


  4. Ian "Marvin" Graye Ian "Marvin" Graye says:

    An Exuberant Masterpiece This novel is almost 600 years old yet it’s hugely entertaining far so than I had expected In both content and style there were times when I couldn’t have guessed when it was written It’s no longer argued that it was the first ever novel However its narrative diversity highlights that the institution of the novel has always been about stylistic innovation and that there is little that differentiates the origins of the novel from subseuent Modernism and Post Modernism I read the early translation begun by Sir Thomas Uruhart both in ebook form and in a lovely old hardback version that I had bought in 1983 because I loved the stylish pen and ink drawings by the Australian artist Francis J Broadhurst who also illustrated “The Decameron” Some of his illustrations accompany this review There have been several translations since Uruhart’s However I couldn’t fault his version It read easily Any lengthy sentences were playful than turgid Steven Moore describes it as an “exuberant masterpiecebut they took too many liberties with the text and made too many mistakes” I was oblivious to these flaws Suffice it to say that I felt that they never detracted from the fluidity and humour of the prose that ended up on the page This must be a tribute to either the author or the translators Uruhart was an “extravagant and eccentric” Scottish writer who shared a fascination with neologisms especially those in “Gargantua” There’s an interesting site dedicated to him here A Primer The novel is actually a compendium of five books each of which consists of up to 60 chapters that are usually two to four pages long with headings that clearly announce the subject matter The first book to be written and published appears second the first being a preuel The success of these two books was so great that Rabelais was tempted to keep adding to them until his death a tradition maintained by Hollywood The adjective “Rabelaisian” derives from the character of the book meaning “displaying earthy humour or bawdy” or “marked by gross robust humor extravagance of caricature or bold naturalism” These characteristics are evident However what surprised me was the underlying serious intent of the novel While couched in a satirical framework it targets important social political and religious issues It attacks perceived evils and promotes or investigates alternatives At times particularly in relation to the excesses of lawyers it resembled Machiavelli’s “The Prince published in 1532 the year of publication of the first book at one extreme and Jonathan Swift’s “Gulliver’s Travels” 1726 at the other It is a sort of primer in social studies without being overtly or overly didactic “Rabelais and His World” It is difficult to read about “Gargantua” without encountering Mikhail Bakhtin’s “Rabelais and His World” I haven’t read it yet However I have utilised some of his approach in my review and tried to identify where I might have felt differently about it Bakhtin analyses “Gargantua” in terms of • “Carnival”; and• “Grotesue Realism”“Carnival” The tone of the novel is “carnivalesue” in the sense that most of us have come to understand the word However while I was aware of Bakhtin and his use of the word I certainly wasn’t aware of how extensive and important his work was in defining its literary connotations The novel creates a superficial impression of humour pleasure and ribaldry It is verbally playful and its subject matter is often the role of recreation or play within a broader context Each chapter is a comic set piece much like an individual act in a circus There are freuently crowds or large numbers of people who form an audience for the rituals performances and activities that are described Bakhtin contributes four additional characteristics to the context • Free interaction between people of different classes;• Tolerance of otherwise eccentric behavior;• The unification of cultural traits or tropes that would usually be separated or opposed; and• The absence of sanction or punishment for sacrilegious or transgressive behavior Historically various carnivalesue celebrations totaled about three months of the Roman Catholic calendar year To some extent they reflected the retention or preservation of pagan traditions and practices Thus in a way they were safety valves for social political and religious tensions Bakhtin’s analysis isn’t one that is superimposed on the text from outside The Festival of Carnival is mentioned many times in the novel If a modern reader had some knowledge of the implications of Carnival then some of Bakhtin's analysis would become apparent from the text itself As you learn to appreciate Rablelais' perspective it becomes increasingly apparent that the two alternative worldviews that he is contrasting are Carnival and Lent two aspects of the Christian calendar Carnival represents idleness leisure exuberance excess libertinism ribaldry and hedonism Lent represents abstinence sobriety asceticism puritanism rigidity and self discipline The characters and the reader are confronted with a choice between the two Alternatively they might have to find a third road of their own making The relative importance of alcohol is revealed in the narrative structure as early as the first sentence of the Author’s Prologue Rabelais addresses Readers as “most noble and illustrious drinkers” The novel is not just about passively observing or participating in a public spectacle It’s eually if not about conversation within the confines of a public house or inn The narrative style belongs to an oral spoken occasionally a dramatic or theatrical tradition The narrator is talking to us while we’re all consuming alcohol Each chapter is a discrete tale It’s just the right length before it’s time to refill our mugs or glasses This is story telling at its best Only the purpose of this story telling is both enlightenment and laughter It doesn’t occur outdoors in a public forum It happens in an intermediate semi private semi public sphere that is still uite distinct from the private or intimate sphere of the individual Nevertheless like a public arena status or class distinctions are abolished Anyone who is present is entitled to both speak and drink provided of course that they can afford to pay for their alcohol The inn therefore represents Carnival while the Church represents Lent Challenging the Status uo Another aspect of the carnivalesue or drinking context is that it temporarily suspends the enforcement of the status uo The carnival showcases alternative options while the inn provides a venue to discuss them Thus the tales told while drinking are “what if” or speculative accounts about what it might be like if life and society were otherwise This theory is applicable to the events within the novel On the other hand the novel itself is a tangible object that must submit to the full jurisdiction of the law For a long time it encountered problems with both civil and ecclesiastical law Within the novel the explicit challenge to the status uo is disguised by the fact that both Gargantua and Pantagruel are giants They are inflated gross exaggerated and excessive Nothing about them is average or mediocre Everything about them is realistic apart from their gargantuan size and strength However it’s almost as if they have a gigantic licence to do things differently because of their size They are not open to challenge It helps that they are also royalty in their milieu Gargantua's son Pantagruel whose name means all thirst has an unuenchable thirst for knowledge and an insatiable appetite for food and alcohol He receives the best tuition and acuires both wisdom and judgement The novel effectively describes his adventures in learning both within France and offshore His diplomatic status assures him of safe passage Thus Rabelais is able to experience and assess other political options by observation without overtly challenging the status uo of his fictional royal family precisely because it is a member of the family the Prince who is conducting the investigationThe narrative is a number of successive inuisitions It doesn't betray any particular preference or bias Information and knowledge are goals in their own right They do not have to be purposive within the framework of the novel even if Rabelais' own goal might have been to encourage greater freedom of choice in real life“Grotesue Realism”Just as the world of Pantagruel is gross it is grotesue in Bakhtin's eyesGrotesue Realism conceives of reality or the human body as structured in a hierarchical or stratified mannerAt the highest level is the abstract ideal spiritual and noble aspect of the mind At the lowest level is the material vulgar irreverent wanton aspect of the genitaliaBakhtin sees the one transform into the other by a process of death decay and degradationThe middle level is that of the belly the gut or the womb which represents the process of excretion transformation renewal rebirth or birth of a new beingThese anatomical metaphors apply just as much to the body politic as the human body Thus the middle level is the process by which society and social order changes eg by way of elimination rebellion or revolution The top level is both inverted and subverted from belowRabelais would argue that these processes are not just violent vulgar and offensive but natural inevitable and necessary Hence his novel in which he describes the processes explicitly is both ribald and profoundly serious It is both sexual and revolutionary hence its perceived threat to the status uo upheld by King and PopeThe Opposite Sex and the Opposing SideThrough our genitals and our mouths we interact with each other and the world by way of sex eating and drinking all of which proliferate in the novel Bumguts tripes bowels codpieces gashes and congress aboundOften women are the mere target of male sexual activity This has attracted much criticism starting at the time of publication when a number of women wrote fictional rejoinders However in its defence there are a number of women who are ueens or abbesses or in other positions of power in their own right Eually importantly there is a sense of wonder or ignorance of apprehension or fear about the female body and mind For all the sexual congress women are a mystery an unknown an inexplicable The institution of marriage represents both an opportunity and a concern Surely without marriage there cannot be infidelity Therefore concludes the Prince's adviser Panurge all will or drive the best way to avoid being cuckolded is to eschew marriageThus Rabelais suggests that the progress of life is not just about comprehending the workings of the social order but also the nature of the opposite sex and the union with it in holy or unholy matrimonyWhere Rabelais places conflict Pantagruel seeks resolution He seems to have a uniue ability to placate opponents resolve disputes and achieve a new order He shepherds people through the process of change The subjects he most despises are not his opponents but the lawyers who would provoke inflame and prolong disputes for their own profit no doubt billed at hourly rates or per folio of written word Do What You Will The closest Rabelais gets to some sort of Utopian vision is his description of the Abbey of Thélème and its residents as early as the first book In it All their lives was spent not in laws statutes or rules but according to their own free will and pleasurethis one clause to be observed ‘Do What Thou Wilt’”The logic is that Men and Women long after things that are forbidden to them and desire what is denied to them Therefore freedom honour and contentment can be achieved by giving to us what we long for and desireEn Oino AletheiaRabelais alerts us early in his novel that it would be misguided to think that his words contain nothing in them but jests mockeries lascivious discourse and recreative liesTherefore is it that you must open the book and then shall you find that it containeth things of far higher value than the box did promise; that is to say that the subject thereof is not so foolish as by the title at the first sight it would appear to beyou would have found a than human understanding an admirable virtue matchless learning invincible courage unimitable sobriety certain contentment of mind perfect assurance and an incredible misregard of all that for which men commonly do so much watch run sail fight travel toil and turmoil themselves”On reflection the claim to unimitable sobriety might be an exaggerationTowards the end of the book he describes another motto En Oino AletheiaThis phrase might be familiar to us as “In Vino Veritas” or “In Wine Truth”Thus regardless of the uest or the grail truth is really to be found in the cup itself and its contents the real sanc greal a most divine thing Hence Rabelais’ counsel that the only way to satiate your thirst for knowledge is to drink to drink eternally and to drink of eternity At which point most noble and illustrious drinkers it’s time we all returned to the inn


  5. Alex Alex says:

    Rabelais The foreman of farts The sheik of shit The rajah of rectums Listen the first joke in the world was a fart joke; Sophocles Shakespeare Melville all liked fart jokes; but no one has ever farted like RabelaisHere's the dirty truth if you're not super into 1100 pages of 16th century fart jokes you can read the first two books and skip the rest I KNOW Only assholes do that Look you don't have to take my advice I don't care I'm justdo kids still say keeping it real? No? No they never actually said that? Whatever I fart in your general direction pedant You can read the first two books and love Rabelais or read the whole thing and be annoyed Your choiceBook One in the order they were written is Pantagruel and here's what Pantagruelism is so you know what your pretentious college professor friends are talking about it when they start throwing that word around ps people who use this word are like 30 seconds from hinting that they swing so just be aware of that it's A certain merriness of mind pickled in contempt for things fortuitous It means talking about heavy things but not too heavily There's a lot of drinking involved But not drunkenness You know how Europeans are Pantagruelists are educated and intelligent; they're very pleased with themselves for being educated and intelligent; they swish wine around in their glasses before drinking it; they cultivate a certain smug detachment from the world They're annoying but not the most annoying; they do have interesting things to say although they tend to bang on uite a bitAnd there are a lot of them this is like 80% of college literature professors so you might as well read this first book to understand them betterMore stuff about PantagruelistsThey will never take in bad part anything they know to flow from a good frank and loyal heartThere was but one clause in their Rule Do what thou wilt because people who are free well bred well taught and conversant with honourable company have by nature an instinct a goad which always pricks them towards virtuous acts and withdraws them from viceSee they're not bad Just sorta doucheyThis book also introduces the character Panurge who is initially a terrific scoundrel He wears a cloak with over 26 pouches and pokes containing verjuice which he flung into the eyes of the folks he came across; in another burrsin yet another he kept a pile of little cornets full of fleas and lice which he threw on to the collars of the most sugary of the young ladies He's a dastardly prankster Fun stuffBook Two is Gargantua and this is great too It features the famous bit where the young Gargantua describes all the different things he's tried wiping his ass with cats roses hats pigeons but the best he says is a goose Which is not true because geese are cruel but who are you gonna believe me or a famous writer? Anyway Gargantua is driven insane by dumb medieval learnin' which I think we can all identify with; this is similar to what happens to Don uixote 65 years later Rote memorization is what turns Gargantua into a blithering idiot A reeducation in the humanist Renaissance style a focus on being well rounded understanding texts and also physical education saves himThis book also introduces the fightin' fuckin' cleric Frere Jean one of Rabelais' better characters young gallant lively lusty adroita galloper through of mattinsa polisher off of virgins in short a true monk if ever there was one since the monking world first monked about with monkeryBook Three is the most philosophical book otherwise known as the most boring one Panurge suddenly turns from a scoundrel to a dunce; he spends the whole book whinging about whether he should get married which Rabelais uses as an excuse to expound on a number of Renaissance debates that you don't care about I was greatly vexed there for three reasons first because I was vexed Second because I was vexed Third because I was vexedBook Four is pretty okay It's just like an Odyssey style journey so that's fun But inessentialThere's a lot of controversy over whether Book Five was written by Rabelais at all; my translator whose name is seriously Screech is positive it wasn't That should give you enough of an excuse to skip it; it's fine but you certainly have the idea by now anyway and it has nothing amazing to addRabelais is pretty cool There are some good jokes in here It's also possibly the world's greatest repository of band names including such hits as Farthing Farthing Up Your Bum Angel Nards Fields of Enemas Farty Kick back Bollocks Lawless CodpieceHe doesn't love women when he thinks about them at all There's this aside Madam mind you don't fall in there's a great dirty hole right there in front of you and this great story from a parlourmaid of SpartaHave you ever had anything to do with men?No but men have occasionally had something to do with meBut If Rabelais dreamt it was of flying phalluses scrambling up walls This is a man's world Look Rabelais is right someday you shall die all peacefully pickled in farts There's time to visit his terrific writing first But maybe not all of it


  6. MJ Nicholls MJ Nicholls says:

    That is why Drinkers I counsel you to lay up a good stock of my books while the time is right; as soon as you come across them on the booksellers’ stalls you must not only shuck them but devour them like an opiatic cordial and incorporate them within you it is then that you will discover the good they have in store for all noble bean shuckers Reading Rabelais over the last few months has been an enlightening and perplexing and stimulating pleasure a delirious encyclopaedic cornucopia of codpiece cracks heftily uoted Erasmus adages early renaissance medical insights highbrow fart humour lowbrow fart humour pyromaniacal punning witchy and wizardy wordplay unbothersome biblical allusions magical and phantasmagorical adventures saucy swiving scenes Panurgian cowardice inept marriage advice proto neo cleo surrealist larks over my head erudition and welcome thumb agony This edition places the notes and comment before each chapter making the GP experience twice as cerebrally satisfying and infinitely clearer to read sans notes MA Screech as a translator has as much panache as a humorist word spinner and egghead as one demands from this monolith and made my daily reading a delight Take up your Rabelais noble bean shuckers


  7. Το Άθχημο γατί του θενιόρ Γκουαναμίρου Το Άθχημο γατί του θενιόρ Γκουαναμίρου says:

    Eschatological scatology this one I'm afraid I did not think twas possible to mix so many farts with so many medieval microaggressions dissertationes de misogynia etc The author narrates the adventures of two giants Gargantua the father and Pantagruel the son and their comrades using so many scatological exaggerations that the entire text becomes unbearable Rabelais devotes a whole chapter to Gargantua's experiments to find the ideal material for wiping one's arse with an abundance of repulsive explicit details In another chapter we are being presented with a story about how a married woman rejecting another man's sexual advances receives the punishment of being raped and ripped by a pack of dogs This is textbook example of what the average medieval monk fantasized when they where not terrorizing their flocks with devilish visions of eternal punishment Αυτό το πεντάτομο συνονθύλευμα από αηδίες σάχλες χοντράδες και καλογερίστικες προκαταλήψεις γράφτηκε στο διάστημα ανάμεσα στα 1532 και 1564 Ο πέμπτος τόμος δεν έχει γραφτεί από τον Rabelais 1494 – 1553 αλλά κυκλοφόρησε με το όνομά του Η κεντρική διήγηση αφορά τις περιπέτειες δύο γιγάντων του Gargantua και του γιου του Pantagruel και περιέχει διηγήσεις για εξερευνητικά ταξίδια πολεμικές συγκρούσεις σπουδές σε πανεπιστήμια και επαφές με διάφορες επινοημένες και μη πολιτικές και θρησκευτικές προσωπικότητες και βασίζεται σε ένα προγενέστερο παρεμφερές έργο που είχε κυκλοφορήσει ανώνυμα Η ελληνική έκδοση Γαργαντούας και Πανταγκρυέλ¨ σε πολύ καλή μετάφραση του Φίλιππου Δρακονταειδή από τις εκδόσεις Εστία περιλαμβάνει μόνο το δεύτερο βιβλίο της σειράς που φέρει τον τίτλο Gargantua La vie très horrifiue du grand Gargantua père de Pantagruel που κυκλοφόρησε στα 1535 για πρώτη φορά με μια διορθωμένη από τον ίδιο τον συγγραφέα επανέκδοση στα 1542 Πριν από αυτό κυκλοφόρησε γύρω στα 1532 το πρώτο βιβλίο της σειράς με τίτλο Pantagruel Les horribles et épouvantables faits et prouesses du très renommé Pantagruel Roi des Dipsodes fils du Grand Géant GargantuaΤα υπόλοιπα βιβλία είναι μια συνέχιση των περιπετειών του Pantagruel σε διάφορους φανταστικούς κόσμους Στο μεγαλύτερο μέρος της διήγησης των περιπετειών των δύο γιγάντων και των συντρόφων τους κυριαρχεί μια σκατολογική υπερβολή που καταντά ανυπόφορη Ο συγγραφέας αφιερώνει ένα ολόκληρο κεφάλαιο στις δοκιμές του νεαρού Gargantua προκειμένου να βρει το ιδανικό μέσο για σκουπίζει τα κόπρανα από τα οπίσθιά του παραθέτοντας έναν εμετικό κατάλογο με τα πειράματά του καθώς και μερικά συναφή ποιητικά δείγματαΧέζοντας τις προάλλες μύρισατο φόρο που στον κώλο μου χρωστάωΑλλιώτικη βγήκε μυρουδιά απ' ότι συνηθάωκι άρχισα να βρομοκοπάωΑχ αν κάποιος μου 'φερνε τη ρήγισσατην κόρη που περίμενα και λαχταράωχέζονταςθα 'πιανα να της καλαφάτιζα την τρύπααπ' όπου κατουράει καταπώς ξέρω κι είπαΚαι τα δαχτύλια της στο μεταξύτην τρύπα του σκατού μου θα βόλευαν μαζίχέζονταςαπό τη μετάφραση του Δρακονταειδή σελ 95Παραθέτω αυτό το μικρό απόσπασμα που αποτελεί ένα ελάχιστο τμήμα από εκτενέστατες και κατά πολύ ανούσιες διηγήσεις για κακοήθεις όγκους που όζουν και πυορροούν διάρροιες και ποταμούς ούρων που αρκούν για να πνίξουν ολάκερο το Παρίσι ή να εξοντώσουν ορδές εχθρικών στρατευμάτων Πέρα από αυτό οι ήρωες φαίνεται πως διακατέχονται από ένα ιδιότυπο σύνδρομο μισογυνισμού προφανώς απόρροια του μοναστικού περιβάλλοντος του συγγραφέα που τους έπλασε όπου κυριαρχούσε ένα είδος ομοκοινωνικότητας Ετερόφυλοι άνδρες δεμένοι με δεσμά τόσο ισχυρά όσο εκείνα που θα προέκυπταν από τον βαθύτερο και πλέον παράφορο έρωτα βλέπουν τη γυναίκα ως μια ενοχλητική παρέκβαση προκειμένου να εκτονώσουν τις σεξουαλικές ανάγκες τις οποίες βάσει καθορισμένων κοινωνικών και θρησκευτικών επιταγών δεν μπορούν δεν διανοούνται δεν δύνανται να εκφράσουν με οποιονδήποτε άλλο τρόπο Το ισχυρότερο παράδειγμα μιας τέτοιας νοοτροπίας παρατίθεται στο πρώτο βιβλίο του Pantagruel Εκεί ένας από τους συντρόφους του γίγαντα ονόματι Panurge δοκιμάζει την απόρριψη όταν εξομολογείται τον έρωτά του σε μια παντρεμένη ευγενή Παρισινή Κυρία Κυρία πρέπει να ξέρεις πως είμαι τόσο βαθιά ερωτευμένος μαζί σου που αδυνατώ να κατουρήσω και να χέσω Δεν ξέρω τι θα κάνεις με όλα αυτά που σου λέω αλλά τι θα γίνει αν με βρει κάποια συμφορά;Η Κυρία ειδικά μετά από μια τέτοια ερωτική προσέγγιση επιμένει στην απόρριψή της γεγονός που προκαλεί το εκδικητικό μένος του Panurge Την πλησιάζει μέσα στην εκκλησία την ώρα της λειτουργίας την ραίνει με μια σκόνη materia medica που ερεθίζει όλα τα σκυλιά της πόλης οποία της επιτίθενται την βιάζουν και την ξεσκίζουν Κι όταν ο Panurge ειδοποιεί τον φίλο του Pantagruel για την φάρσα που σκάρωσε εκείνος σπεύδει να επιβραβεύσει τον σύντροφό του με λόγια που εκφράζουν την απόλυτη ικανοποίησή τουΜόλις ο Panurge έφτασε στην κατοικία του Pantagruel του είπε Κύριέ μου σε παρακαλώ έλα να δεις όλα τα σκυλιά αυτής της πόλης μαζεμένα γύρω από μια Κυρία την ωραιότερη της πόλης όλα έτοιμα να χώσουν τα καυλιά μέσα στην φαρδιά της τρύπα Και βλέποντας όλα αυτά ο Pantagruel έσπευσε να συμφωνήσει με την όλη κωμωδία η οποία του φάνηκε πρωτότυπη και όμορφηΌποιο επιχείρημα και να χρησιμοποιήσει κάποιος και διάβασα αρκετά κάνοντας μια διερεύνηση στην υπάρχουσα βιβλιογραφία σχετικά με τη συσχέτιση του συγκεκριμένου αποσπάσματος με τις μεσαιωνικές φάρσες αναμφίβολα δεν υπάρχει τίποτα το χιουμοριστικό και το αστείο σε μια τέτοια αφήγηση Ακόμα και στα σημεία εκείνα όπου ο συγγραφέας φαντασιώνεται έναν κόσμο ειρηνικό μέσα στην ευγένεια και στη μελέτη των αρχαίων σε μοναστήρια όπου οι άνδρες μπορούν να συζούν ελεύθερα με δεκάχρονα κορίτσια η γυναίκα δεν παίζει κανέναν ρόλο πέρα από εκείνον της γεννητικής μηχανής υποβιβάζεται σε ένα αυτόνομο αιδοίο που μετά την εκπλήρωση του μοναδικό λόγου ύπαρξής της μπορεί να πεθάνει ώστε οι άνδρες να συνεχίσουν ανενόχλητοι τη δράση τους Μάλιστα ούτε για τα δεδομένα της εποχής εκείνης στην οποία γράφτηκε το έργο αυτό δεν είναι ανεκτό Ήδη από εκείνη την εποχή και λίγο πιο πριν πολλοί άνδρες και γυναίκες του πνεύματος προσπαθούσαν με επιχειρήματα συμβατά με τις νοοτροπίες και ιδεολογίες της εποχής τους να αποδείξουν την αξία και τις αρετές του γυναικείου φύλου κόντρα σε αυτές τις καλογερίστικες αγκυλώσεις Η πνευματική αυτή κίνηση είναι γνωστή ως La uerelle des femmes Το περί γυναικών ερώτημα Που λοιπόν κρύβεται ο πολυθρύλητος ουμανισμός του Rabelais; Και τι ορίζεται ως ραμπελαισιανός ουμανισμός; Δεν είναι τίποτε άλλο από μια ενδοεκκλησιαστική κριτική μια διεκδίκηση για περισσότερες ελευθερίες συνεπώς και μεγαλύτερη ασυδοσία μεταξύ των παπάδων η οποία δεν φέρει ούτε ρανίδα από τις ανθρωπιστικές πανανθρώπινες αξίες μια τέτοιας πνευματικής κίνησης Το ερώτημα ωστόσο που απομένει είναι γιατί και από ποιους αγαπήθηκε τόσο αυτό το έργο; Για αιώνες το δυτικό εκπαιδευτικό σύστημα απευθυνόταν στην πλειοψηφία των ευκατάστατων νέων ανδρών και είχε έναν σαφή θρησκευτικό προσανατολισμό Τα μεγαλύτερα ευρωπαϊκά πανεπιστήμια ήταν υπό τον έλεγχο της Εκκλησίας η οποία διέθετε τεράστια πολιτική επιρροή Εκεί μέσα σε αυτό το περιβάλλον όλες οι ραμπελαισιάνες εξτραβαγκάντσες πρέπει να αποτελούσαν ένα αποτελεσματικό μέσο εκτόνωσης και αντίδρασης στο αυστηρό πιετιστικό περιβάλλον Έτσι φτάνουμε ακόμα και στον 19ο αιώνα όπου συναντούμε αυτές τις μισογυνιστικές επιρροές σε συγγραφείς όπως ο Balzac ο οποίος υπήρξε θερμότατος θαυμαστής του Rabelais καίτοι με σαφώς πιο μετριασμένη έντασηΤο συμπέρασμά μου από όλην αυτήν την μαρτυρική ανάγνωση είναι πως πρόκειται για ένα υπερεκτιμημένο έργο που αγαπήθηκε από μια σειρά από διανοούμενους οι οποίοι μεγαλωμένοι σε ένα ανδροκρατούμενο πνευματικό περιβάλλον του προσέδωσαν μεγάλη αξία ορίζοντάς το ως ένα από τα σπουδαιότερα έργα του ευρωπαϊκού πνεύματος διαιωνίζοντας έτσι όλες τις προκαταλήψεις που περιόριζαν τις γυναίκες στο περιθώριο της κοινωνίας υποβιβάζοντας το ρόλο και τη θέση τους μέσα σε αυτή


  8. Roy Lotz Roy Lotz says:

    Rabelais is not to be skipped in literary history as he is a source of so much proverb story joke which are derived from him into all modern books in all languages—Ralph Waldo EmersonIt is perhaps one of the most reassuring aspects of reading great books of the past how often you come across an individual who lived in a different time and place who spoke a different language and held different beliefs whose life was shaped by none of the same technologies or institutions—but who is nonetheless immediately recognizable and even intimately familiar Such is Montaigne such is Cervantes and such is Rabelais It’s hard to describe Rabelais without comparing him to his great successor James Joyce Like Joyce Rabelais was enormously learned; unlike many of his contemporaries he knew how to read Greek and translated many of the works of Hippocrates and Galen He buttered his bread by working as a doctor During his lifetime he corresponded with many of the brightest lights of Europe including Erasmus This book is full of references to theology history law science and virtually any other subject that existed at the time And yet as in Joyce all this massive learning is marshaled to better deliver jokes about defecation micturation flatulation copulation and inebriation I am told by scholars that despite all this Rabelais was a real believing Catholic; but it’s a bit hard to swallow I can’t imagine a book pagan irreverent hedonistic and carnal and earthy than this one When religion is examined it is inevitably to parody the hypocrisies of monks and clergyman and eventually of the papacy itself Certainly one finds no avowals of atheism or even open hostility towards religion as a whole in these pages But the entire spirit of this work is so much closer to Aristophanes than to say Dante that picturing Rabelais as a monk is about as easy as picturing Karl Marx shouting “Buy Buy” at the top of his lungs on the floor of the New York Stock Exchange Like his great predecessor Aristophanes Rabelais proves that repetition is one of the comedian’s most useful tools A joke that is at first merely amusing becomes after iteration and iteration and after it is blown up to the most absurd proportions side splittingly hilarious Just so the most characteristic Rabelaisian techniue is the list The book is overflowing with absurd catalogs and inventories wherein Rabelais whose learning appears endless and whose linguistic ingenuity is nigh infinite shows off his inexhaustible inventiveness To pick just one example Rabelais portrays how the cake bakers of Lerné insulted the shepherds of Grandgousier’s countrycalling them babblers snaggle teeth crazy carrot heads scabs shit a beds boors sly cheats lazy louts fancy fellows drunkards braggarts good for nothings dunderheads nut shellers beggars sneak thieves mincing milksops apers of their betters half wits gapers hovel dwellers poor fish cacklers conceited monkeys teeth clatterers dung drovers shitten shepherds and other such abusive epithetsBut the use of these incredible lists isn’t enough for Rabelais; to satisfy his linguistic thirst he must constantly parody myriad other works veering chaotically from style to style from subject to subject as if he is determined to satirize not only his era but the whole preceding history of the world before he’s through The narrative and the characters of this “novel” are just vehicles for the author Rabelais is not in the business of writing stories and forming consistent personalities; rather the stories and the personalities are invented on the spot—often causing serious inconsistencies as characters behave one way in one chapter and then are repurposed in another chapter In other words Rabelais isn’t interested in creating the kind of immersive experience we have come to expect from novels where the internal world is so fully realized and consistent that we can forget it isn’t real Rabelais doesn’t want you to forget his characters and stories aren’t real; they are just puppets for him just a way to organize the torrent of his overflowing brain spilling onto the page If this work consisted only of the first two books I would be giving it five stars They are as exuberant and hilarious as anything in literature the eual even of Don uixote After that however my enthusiasm somewhat cooled The third book repeats the same joke one too many times; and further the oracles and divinations and the paranoia of cuckoldry that tie the story together are less interesting for the modern reader The fourth book is rather various in uality containing much of Rabelais’s best but also much that is meandering and pointless And the fifth book which was published after Rabelais’s death was clearly put together from some half completed notes that Rabelais left behind and may even contain some writing that wasn’t his But for all the clumsiness and inelegance that one finds in these pages for all of the dead ends and inconsistencies and for all of the jokes that are stretched beyond their useful life there is no denying that this is one of the great books in world literature Rabelais was not a craftsman; he did not polish his phrases he did not round out his narratives Rather Rabelais was an adventurer pushing the vessel of his mind was far as it could go traveling across all the oceans of the world seeing all there was to see eating and drinking everything offered to him following the wind wherever it led him He scorned nobody except the scornful; he only snubbed his nose at snobs The final result is this work which is perhaps the most slipshod irregular rough coarse bumpy lumpy uneven shaggy slapdash messy untidy soiled grimy bedraggled disheveled muddled chaotic jumbled and grubby of all the great classics in history but which for all that contains as much parable as the New Testament as much myth as Homer as much wisdom as Socrates as much humor as Aristophanes and exuberance and ebullience than anyone since


  9. Edward Edward says:

    Gargantua and Pantagruel is a bawdy feast of wordplay and erudition; a wild departure from the simple tales of The Decameron It is unfortunate that so much of the linguistic inventiveness is obscured by the need for translation as well as forgotten references and changes in meaning and pronunciation over time However the translator did an excellent job of conveying the spirit of Rabelais’ original words in contemporary English The edition I read is the newer Screech translation containing all five books appearing in published order a departure from the conventional order where Gargantua appears first as well as several supplemental almanacs and prognostications which provide some interesting context but are by no means integral to the experience If you are looking to read the whole of Gargantua and Pantagruel research the edition another one I came across in a bookshop did not contain all five books I've found these Penguin Classic editions to be fantastic in general offering a lot of additional information and commentaryOf the five books I enjoyed the first two the most They have of a roguish and irreverent tone which at times feels surprisingly contemporary Book three is concerned almost entirely with arguments for or against Panurge’s marriage and books four and five this last having disputed authorship detail the naval voyages of Pantagruel Some episodes are interesting; others not But the chapters are short so one is not stuck in one place for very long I found the extensive philosophical musings which featured heavily in the later books especially the third to be uite tedious framed as they are in biblical and historical authority and concerned with uestions that are no longer pertinent All of which makes Gargantua and Pantagruel something of a mixed bag as a reading experience I wholeheartedly agree with Alex's advice to read the first two books and skip the rest


  10. Geoff Geoff says:

    I miss having time to write reviews But you pick something up and something has to fall from youHuman hands hold very littleA skull blinks centuries have dusted awaySince RabelaisI miss having time to readUninterrupted hours and time to think about what I readBut we take on other tasks knowing we must make and remake ourselves and the ones we care about every day all dayA chisel is a tool against time but one starts feeling stupid chiseling at wind really I still have time to readAnd remember to live joyfullyAnd drink and don't despairToday I read an essay about someone I once spent a weekend with and it made me dwell seriously on our far flung fates and the old uestions raised by Yorick and what it is to be absent mistaking ourselves about presenceI do the same thing because I need to live and others say they need meBut something must slip away when something else is taken upAnd remembering to live joyfullySaying farewell to holidays and empty ends isn't everything We once walked this earth unconcerned all of us not so long agoCenturies dusted away since Rabelais most of living is fighting dispersaluite stupidlyAll thought has been thought before into dust we've thrown armies against those walls we've laughed and drank through our severed heads since time beganBack then it felt like the center of everything happening on earth and all kinds of people would come and go but they were always working on something talking about something making something all I knew is he was a good guy and he constantly made me aware that I could be better than what I am right nowBlinked away blinked away there's these little containers inchesxinches in dimension they can hold everything and all time open them to any place and you're miles deep againAwayOne day I will have written a review of Rabelais


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