marvellous cohesion, precision, and brilliancy. It was modelled and remodelled, repaired, touched up, and yet it has all the appearance of having been created at a single stroke, or of having been run like molten wax into its final form.
Something should be said here of the sources from which Rabelais borrowed. He was not the first in France to satirize the romances of chivalry. The romance in verse by Baudouin de Sebourc, printed in recent years, was a parody of the Chansons de Geste. In the Moniage Guillaume, and especially
in the Moniage Rainouart, in which there is a kind of giant, and occasionally a comic giant, there are situations and scenes which remind us of Rabelais. The kind of Fabliaux in mono-rhyme quatrains of the old Aubery anticipate his coarse and popular jests. But all that is beside the question; Rabelais did not know these. Nothing is of direct interest save what was known to him, what fell under his eyes, what lay to his hand--as the Facetiae of Poggio, and the last sermonnaires. In the course of one's reading one may often enough come across the origin of some of Rabelais' witticisms; here and there we may discover how he has developed a situation. While gathering his materials wherever he could find them, he
was nevertheless profoundly original.
On this point much research and investigation might be employed. But there
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is no need why these researches should be extended to the region of fancy. Gargantua has been proved by some to be of Celtic origin. Very often he is a solar myth, and the statement that Rabelais only collected popular traditions and gave new life to ancient legends is said to be proved by the large number of megalithic monuments to which is attached the name of Gargantua. It was, of course, quite right to make a list of these, to draw
up, as it were, a chart of them, but the conclusion is not justified. The
name, instead of being earlier, is really later, and is a witness, not to
the origin, but to the success and rapid popularity of his novel. No one has ever yet produced a written passage or any ancient testimony to prove the existence of the name before Rabelais. To place such a tradition on a sure basis, positive traces must be forthcoming; and they cannot be adduced
even for the most celebrated of these monuments, since he mentions himself the great menhir near Poitiers, which he christened by the name of Passelourdin. That there is something in the theory is possible. Perrault
found the subjects of his stories in the tales told by mothers and nurses.
He fixed them finally by writing them down. Floating about vaguely as they were, he seized them, worked them up, gave them shape, and yet of scarcely any of them is there to be found before his time a single trace. So we
must resign ourselves to know just as little of what Gargantua and
Pantagruel were before the sixteenth century.
In a book of a contemporary of Rabelais, the Legende de Pierre Faifeu by
the Angevin, Charles de Bourdigne, the first edition of which dates from
1526 and the second 1531--both so rare and so forgotten that the work is only known since the eighteenth century by the reprint of Custelier--in the introductory ballad which recommends this book to readers, occur these lines in the list of popular books which Faifeu would desire to replace:
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'Laissez ester Caillette le folastre,
Les quatre filz Aymon vestuz de bleu, Gargantua qui a cheveux de plastre.'
He has not 'cheveux de plastre' in Rabelais. If the rhyme had not suggested the phrase--and the exigencies of the strict form of the ballade and its forced repetitions often imposed an idea which had its whole origin in the rhyme--we might here see a dramatic trace found nowhere else. The name of Pantagruel is mentioned too, incidentally, in a Mystery of the fifteenth century. These are the only references to the names which up
till now have been discovered, and they are, as one sees, of but little account.
On the other hand, the influence of Aristophanes and of Lucian, his
intimate acquaintance with nearly all the writers of antiquity, Greek as
well as Latin, with whom Rabelais is more permeated even than Montaigne, were a mine of inspiration. The proof of it is everywhere. Pliny
especially was his encyclopaedia, his constant companion. All he says of the Pantagruelian herb, though he amply developed it for himself, is taken from Pliny's chapter on flax. And there is a great deal more of this kind
to be discovered, for Rabelais does not always give it as quotation. On the other hand, when he writes, 'Such an one says,' it would be difficult enough to find who is meant, for the 'such an one' is a fictitious writer. The method is amusing, but it is curious to account of it.
The question of the Chronique Gargantuaine is still undecided. Is it by Rabelais or by someone else? Both theories are defensible, and can be supported by good reasons. In the Chronique everything is heavy, occasionally meaningless, and nearly always insipid. Can the same man have
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written the Chronique and Gargantua, replaced a book really commonplace by a masterpiece, changed the facts and incidents, transformed a heavy icy pleasantry into a work glowing with wit and life, made it no longer a mass
of laborious trifling and cold-blooded exaggerations but a satire on human life of the highest genius? Still there are points common to the two. Besides, Rabelais wrote other things; and it is only in his romance that he shows literary skill. The conception of it would have entered his mind
first only in a bare and summary fashion. It would have been taken up again, expanded, developed, metamorphosed. That is possible, and, for my part, I am of those who, like Brunet and Nodier, are inclined to think that the Chronique, in spite of its inferiority, is really a first attempt,
condemned as soon as the idea was conceived in another form. As its earlier date is incontestable, we must conclude that if the Chronique is not by him, his Gargantua and its continuation would not have existed without it. This would be a great obligation to stand under to some
unknown author, and in that case it is astonishing that his enemies did not reproach him during his lifetime with being merely an imitator and a plagiarist. So there are reasons for and against his authorship of it, and
it would be dangerous to make too bold an assertion.
One fact which is absolutely certain and beyond all controversy, is that Rabelais owed much to one of his contemporaries, an Italian, to the Histoire Macaronique of Merlin Coccaie. Its author, Theophilus Folengo, who was also a monk, was born in 1491, and died only a short time before Rabelais, in 1544. But his burlesque poem was published in 1517. It was
in Latin verse, written in an elaborately fabricated style. It is not dog Latin, but Latin ingeniously italianized, or rather Italian, even Mantuan, latinized. The contrast between the modern form of the word and its Roman
garb produces the most amusing effect. In the original it is sometimes
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difficult to read, for Folengo has no objection to using the most
colloquial words and phrases.
The subject is quite different. It is the adventures of Baldo, son of Guy
de Montauban, the very lively history of his youth, his trial, imprisonment and deliverance, his journey in search of his father, during which he
visits the Planets and Hell. The narration is constantly interrupted by incidental adventures. Occasionally they are what would be called to-day very naturalistic, and sometimes they are madly extravagant.
But Fracasso, Baldo's friend, is a giant; another friend, Cingar, who
delivers him, is Panurge exactly, and quite as much given to practical
joking. The women in the senile amour of the old Tognazzo, the judges, and the poor sergeants, are no more gently dealt with by Folengo than by the monk of the Iles