Gargantua and Pantagruel

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Rabelais's hilarious, scabrous and often scatological fantasy of life amonth the monks and friars of sixteenth-century France remains a satirical and comic classic. A great broth of a book in which every conceivable literary form is parodied and every human desire satirized. But under the comedy there is a serious purpose, for Rabelais also enspouses a positive view of life in which tolerance, goodness, understanding and wisdom are opposed to dogmatism, pride and cruelty. The book is here presented in the classic translation by Urquhart and Motteux.

Francois Rabelais

M. A. Screech

The dazzling and exuberant moral stories of Rabelais (c. 1471-1553) expose human follies with their mischievous and often obscene humour, while intertwining the realistic with carnivalesque fantasy to make us look afresh at the world. Gargantua 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 and its three sequels, 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.

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