When the violence bred of religious quarrels finally forced the learned and courageous printer to expatriate himself, his first care was to say, at the head of his apology, “When I take account of the war I have carried on with the Sorbonne for a space of twenty years or thereabouts, I cannot sufficiently marvel how so small and broken-down a creature as I am had strength to maintain it. When I was seen being harried on all sides, how often have I been the talk on street and at banquets, whilst people said, ‘It is all over with him; he is caught, he cannot escape; even if the king would, he could not save him.’ . . . I wish to justify myself against the reproach of having left my country, to the hurt of the public weal, and of not having acknowledged the great liberality displayed towards me by the king; since it was a high honor for me that the king, having deigned to make me his printer, always kept me under his protection, in the face of all who envied me and wished me ill, and never ceased to aid me graciously in all sorts of ways.”
The College Royal, no less than Robert Estienne, met with obstacles and ill-wishers; it was William Bude (Budeaus) who first suggested the idea of the college to the king, primarily with the limited purpose of securing instruction in Greek and Hebrew, after the fashion of the College of Young Grecians and the College of the Three Languages (the Trilingual, Hebrew, Greek, and Latin), of which the former was founded at Rome by Leo X., the latter at Louvain by Canon Jerome Busleyden. Francis I. readily surrendered himself to more magnificent projects; he was anxious to erect a splendid building on the site of the Hotel de Nesle, and to put Erasmus at the head of the College Royal. War incessantly renewed and the nascent religious troubles interfered with his resolutions; but William Bude never ceased to urge upon the king an extension of the branches of learning in the establishment; and after the Peace of Cambrai in 1529, chairs of mathematics, Oriental languages, Latin oratory, Greek and Latin philosophy, and medicine were successively added to the chairs of Hebrew and Greek which had been the original nucleus of instruction in the College Royal. It continued to be an object of suspicion to the Sorbonne and of hesitation in the Parliament, to which royalty had recourse against the attacks of its adversaries. But it had no lack of protectors, nevertheless: the Cardinal of Lorraine, Charles IX., and Catherine de’ Medici herself supported it in its trials; and Francis I. had the honor of founding a great school of the higher sort of education, a school, which, throughout all the religious dissensions and all the political revolutions of France, has kept its position and independence, whatever may have been elsewhere, in the matter of public instruction, the system and the regimen of state establishments.
A few words have already been said about the development of the arts, especially architecture and sculpture, in the middle ages, and of the characteristics, original and national, Gallic and Christian, which belonged to them at this period, particularly in respect of their innumerable churches, great and small. A foreglance has been given of the alteration which was brought about in those characteristics, at the date of the sixteenth century, by the Renaissance, at the same time that the arts were made to shine with fresh and vivid lustre. Francis I. was their zealous and lavish patron; he revelled in building and embellishing palaces, castles, and hunting-boxes, St. Germain, Chenonceaux, Fontainebleau, and Chambord; his chief councillors, Chancellor Duprat and Admiral Bonnivet, shared his taste and followed his example; several provinces, and the banks of the Loire especially, became covered with splendid buildings, bearing the marks of a complicated character which smacked of imitations from abroad. Italy, which, from the time of Charles VIII. and Louis XII., had been the object of French kings’ ambition and the scene of French wars, became also the school of French art; national and solemn Christian traditions were blended, whilst taking an altered form, with the Italian resuscitation of Greek and Roman antiquity. Italian artists, such as Rosso of Florence, Primatice of Bologna, Niccolo dell’ Abbate of Modena, and Benvenuto Cellini of Florence, came and settled in France, and there inspired and carried out the king’s projects and works. Leonardo da Vinci, full of years and discontented with his Italian patrons, accompanied Francis I. to France, and died in his arms at the castle of Clou, near Amboise, where he had fixed his residence. Some great French artists, such as the painter John Cousin and the sculptor John Goujon, strove ably to uphold the original character and merits of French art; but they could not keep themselves entirely aloof from the influence of this brilliant Italian art, for which Francis I.‘s successors, even more than he, showed a zealous and refined attachment, but of which he was, in France, the first patron.
We will not quit the first half of the sixteenth century and the literary and philosophical Renaissance which characterizes that period, without assigning a place therein at its proper date and in his proper rank to the name, the life, and the works of the man who was not only its most original and most eminent writer, but its truest and most vivid representative, Rabelais.
Francis Rabelais, who was born at Chinon in 1495, and died at Paris in 1553, wandered during those fifty-eight years about France and Europe from town to town, from profession to profession, from good to bad and from bad to good estate; first a monk of the Cordeliers; then, with Pope Clement VII.‘s authority, a Benedictine; then putting off the monk’s habit and assuming that of a secular priest in order to roam the world, “incurring,” as he himself says, “in this vagabond life, the double stigma of suspension from orders and apostasy;” then studying medicine at Montpellier; then medical officer of the great hospital at Lyons, but, before long, superseded in that office “for having been twice absent without leave;” then staying at Lyons as a corrector of proofs, a compiler of almanacs, an editor of divers books for learned patrons, and commencing the publication of his Vie tres-horrifique du grand Gargantua, pere de Pantagruel (Most horrifying life of the great Gargantua, father of Pantagruel), which was immediately proceeded against by the Sorbonne “as an obscene tale.” On grounds of prudence or necessity Rabelais then quitted Lyons and set out for Rome as physician attached to the household of Cardinal John Du Bellay, Bishop of Paris and envoy from France to the Holy See; the which bishop “having relished the profound learning and competence of Rabelais, and having, besides, discovered in him fine humor and a conversation capable of diverting the blackest melancholy, retained him near his person in the capacity of physician in ordinary to himself and all his family, and held him ever afterwards in high esteem.” After two years passed at Rome, and after rendering all sorts of service in his patron’s household, Rabelais, “feeling that the uproarious life he was leading and his licentious deeds were unworthy of a man of religion and a priest,” asked Pope Paul III. for absolution, and at the same time permission to resume the habit of St. Benedict, and to practise “for piety’s sake, without hope of gain and in any and every place,” the art of medicine, wherein he had taken, he said, the degrees of bachelor, licentiate, and doctor. A brief of Pope Paul III.‘s, dated January 17, 1536, granted his request. Seventeen months afterwards, on the 22d of May, 1537, Rabelais reappears at Montpellier, and there receives, it is said, the degree of doctor, which he had already taken upon himself to assume. He pursues his life of mingled science and adventure, gives lessons, and gads about so much that “his doctor’s gown and cap are preserved at Montpellier, according to tradition, all dirty and torn, but objects of respectful reminiscence.” In 1538 Rabelais leaves Montpellier, and goes to practise medicine at Narbonne, Castres, and Lyons. In 1540 he tires of it, resumes, as he had authority to do, the habit of a canon of St. Maur, and settles in that residence, “a paradise,” as he himself says, “of salubrity, amenity, serenity, convenience, and all the chaste pleasures of agriculture and country-life.” Between 1540 and 1551 he is, nevertheless, found once more wandering, far away from this paradise, in France, Italy, and, perhaps, England; he completes and publishes, under his own name, the Faits et Dicts heroiques de Pantagruel, and obtains from Francis I. a faculty for the publication of “these two volumes not less useful than delightful, which the printers had corrupted and perverted in many passages, to the great displeasure and detriment of the author, and to the prejudice of readers.” The work made a great noise; the Sorbonne resolved to attack it, in spite of the king’s approbation; but Francis I. died on the 31st of March, 1547. Rabelais relapsed into his life of embarrassment and vagabondage; on leaving France he had recourse, first at Metz and afterwards in Italy, to the assistance of his old and ever well-disposed patron, Cardinal John Du Bellay. On returning to France he obtained from the new king, Henry II., a fresh faculty for the printing of his books “in Greek, Latin, and Tuscan;” and, almost at the same time, on the 18th of January, 1551, Cardinal Du Bellay, Bishop of Paris, conferred upon him the cure of St. Martin at Meudon, “which he discharged,” says his biographer Colletet, “with all the sincerity, all the uprightness, and all the charity that can be expected of a man who wishes to do his duty, and to the satisfaction of his flock.” Nevertheless, when the new holder of the cure at Meudon, shortly after his installation, made up his mind to publish the fourth book of the Faits et Dicts heroiques du bon Pantagruel, the work was censured by the Sorbonne and interdicted by decree of Parliament, and authority to offer it for sale was not granted until, on the 9th of February, 1552, Rabelais had given in his resignation of his cure at Meudon, and of another cure which he possessed, under the title of benefice, in the diocese of Le Mans. He retired in bad health to Paris, where he died shortly afterwards, in 1553, “in Rue des Jardins, parish of St. Paul, in the cemetery whereof he was interred,” says Colletet, “close to a large tree which was still to be seen a few years ago.”
Such a life, this constant change of position, profession, career, taste, patron, and residence, bore a strong resemblance to what we should nowadays call a Bohemian life; and everything shows that Rabelais’ habits, without being scandalous, were not more regular or more dignified than his condition in the world. Had we no precise and personal information about him in this respect, still his literary work, Gargantua and Pantagruel, would not leave us in any doubt: there is no printed book, sketch, conversation, or story, which is more coarse and cynical, and which testifies, whether as regards the author or the public for whom the work is intended, to a more complete and habitual dissoluteness in thought, morals, and language. There is certainly no ground for wondering that the Sorbonne, in proceeding against the Vie tres-horrifique du grand Gargantua, pere de Pantagruel, should have described it as “an obscene tale;” and the whole part of Panurge, the brilliant talker of the tale,