Rabelais most frequently quotes; but he also appropriates sometimes, without acknowledgment, what he had read. Some of his tales are to be found in the "Facetiæ" of Poggius;—that, for instance, which has been versified by Lafontaine and Dryden: and he applied to himself, after Lucian (in his treatise of the manner of writing history), the story of Diogenes rolling his tub during the siege of Corinth. Lucian has been called his prototype. Their essentially distinctive traits may be seen at a glance in their respective uses of this anecdote of the cynic philosopher: in the redundant picturesque buffoonery of dialogue and description of the one; the felicity, humour, severer judgment, and chaster style of the other.
It is impossible to characterise the fantastic cloud of words, so far beyond any thing understood by copiousness or diffuseness, conjured up sometimes by Rabelais; his vagrant digressions, astounding improbabilities, and monstrous exaggerations: but he has that rare endowment which all but redeems these faults, and charms the reader,—the talent of narrating. His great and fatal blemish is his grossness, his disregard of all decency, his sympathy with nastiness, his invasion of all that is weak and vile in the recesses of nature and the imagination. But it should be said for him, at the same time, that his is the coarseness which revolts, rather than the depravity which contaminates; and not only his affectation of a diction more antique than even his own age, but his use of the vulgar provincialisms called in France Patois, limit his popularity in the original to readers of his own country, and the better informed of other countries.
Rabelais had a host of imitators in his own age, and that which immediately succeeded: they have all sunk into utter and just oblivion, with the exception, perhaps, of Beroalde de Verville, author of the "Moyen de Parvenir." Scarron more recently made Rabelais his model, with a congenial taste for buffoonery and burlesque. Molière has not disdained to borrow from him in his comedies. Lafontaine has versified several of the tales introduced in his romance, and has even inclined to his diction. Swift has condescended to be indebted to him. "Gulliver's Travels" and the "Tale of a Tub" both bear decisive evidence, not only in particular passages, but in their respective designs, of the author's being well acquainted with the romance of "Garagantua and Pantagruel." But the imitations only prove Swift's incomparable superiority of judgment and genius. No two things can be more different, than the grave and governed humour of Swift, and the laughing mask of everlasting buffoonery worn by Rabelais: both employ in their fictions the mock-marvellous and gigantic; but Swift observes, throughout, a proportioned scale in his creations, whilst Rabelais outrages all proportion and probability: for instance, in his absurd yet laughable fiction of Panurge's six months' travels, and his discovery of mountains, valleys, rocks, cities, in the mouth of the great giant Pantagruel. Sterne's "Tristram Shandy" is more closely modelled upon the romance of Rabelais. There is the same love of farce, whim, and burlesque, even to the theology of the schoolmen; the same love of digression and wandering: but in Sterne, a superior finesse of perception and expression, the relief of mirth and pathos intermingled, and, above all, a tone of finer humanity.
Rabelais left, besides his romance, "Certain Books of Hippocrates;" and "The Ars Medicinalis of Galen," revised, edited, and commented by him; "The Second Part of the Medical Epistles of Manardi, a physician of Ferrara," edited and commented; "The Will of Lucius Cuspidius;" and "A Roman Agreement of Sale—venerable Remains of Antiquity:" (Rabelais was deceived—they were forgeries: the one by Pomponius Lætus; the other by Pontanus, whom Rabelais, on discovering his mistake, gibbeted in his romance). "Marliani's Topography of Ancient Rome," merely republished by him; "Several Almanacks, calculated under the Meridian of the noble City of Lyons;" "Military Stratagems and Prowess of the renowned Chevalier de Langey," a relative of his patron cardinal du Bellay (doubtful whether his); "Letters from Italy, addressed to the Bishop of Maillezieux," with a historical commentary, far exceeding the bulk of the text, by the brothers St. Marthe; "La Sciomachie" (sham battle)—a description of the fête given at Rome by cardinal du Bellay, in honour of the birth of the duke of Orleans, son of Francis I.; "Epistles," in Latin prose and French verse; "Smaller Pieces" of French poetry; "The Pantagrueline Prognostication," connected with the romance; and "The Philosophical Cream," a burlesque on the disputations of the schoolmen and the Sorbonne.
"The heroic Lives of the great Giants Garagantua and Pantagruel" have gone through countless editions, various expurgations, and endless commentaries; but the most valuable or curious are Duchat's, with a historical and critical commentary, in French; Motteux's, with similar commentaries, in English; an edition by the bookseller Bernard, of Amsterdam, in 1741, with the annotations of the two former, revised and criticised, and illustrations of the text engraved from drawings by Picart; an edition, in three volumes, Paris, 1823, with a copious glossary, a curious and highly illustrative table of contents, and "Rabelæsiana," collected from the author's book, not from his life; another Paris edition, of the same date, in nine volumes, with a "variorum" commentary, from the earliest annotators down to Ginguené, valuable from its copiousness rather than discernment. This last edition gives the 120 wood-cut Pantagruelian caricatures, first published in 1655, under the title of "Songes drolatiques," and ascribed, upon questionable grounds, to Rabelais.
It has been said, with every appearance of truth, that the conversation and character of Rabelais were greatly superior to his book. He knew fourteen languages, dead and living, including Hebrew and Arabic, and wrote Greek, Latin, and Italian. The Greek which he puts into the mouth of Panurge, though not the purest, even for a modern, is fluent and correct. We may remark, in passing, that the Greek word "αὐτὸ" given as part of the text in the common character, is written "afto." He was conversant with all the sciences and most of the arts of his time: a physician, a naturalist, a mathematician, an astronomer, a theologian, a jurist, an antiquary, an architect, a grammarian, a poet, a musician, a painter. His person and deportment are described as noble and graceful, his countenance engaging and expressive, his society agreeable, his disposition generous and kind. He was the physician as well as pastor of his parishioners at Meudon, where he passed his time between the society of men of letters and his friends, his clerical and medical duties, and teaching the children who chanted in the choir the elements of music. He died, it is supposed, in 1553, at the age of seventy, in Paris, and was buried in the churchyard of St. Paul, Rue des Jardins, at the foot of a tree, which, out of respect to his memory, was religiously spared, until it disappeared by natural decay.
It is untrue that he sent to cardinal du Bellay, from his deathbed, this idle message, by a page whom the cardinal had sent to know his state—"Tell the cardinal I am going to try the great 'perhaps'—you are a fool—draw the curtain—the farce is done;" or that he made this burlesque will,—"I have nothing—I owe much—I leave the rest to the poor;" or that he put on a domino when he felt his death approaching, because it is written, "beat! qui moriuntur in Domino." They are impertinent fictions. Duverdier (quoted by Nicéron in his Literary Memoirs, vol. XXXII.) had spoken ill of Rabelais in his "Bibliothèque Française," but retracted in his "Prosographie," and bore testimony to the Christian sentiments in which he died.
No monument has been placed over the grave of Rabelais, but he has been the subject of many epitaphs. We select two of them; one in Latin, the other in French:—
Ille ego Gallorum Gallus Democritus, ill.
Gratius, aut si quid Gallia progenuit.
Sic homines, sic et cœlestia Numina lusi,
Vix homines, vix ut Numina læsa putes.
Pluton, prince du sombre empire,
Ou les tiens ne rient jamais,
Reçois aujourd'hui Rabelais,
vous aurez, tous, de quoi rire.