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Extrait : Car ne croyez pas si ne voulez errer à vostre escient, que ien parle comme les Juifz de la loy. Je ne suis pas nay en telle planette, et ne m’advint oncques de mentir ou asseurer chose que ne feust veritable : agentes et consentientes, cest a dire qui na conscience na rien. Jen parle comme sainct Jehan de lApocalypse : quod bibimus testamur. C’est des horribles faicts et prouesses de Pantagruel, lequel iay servy à guaiges des que ie fus hors de paige, iusques a present, que par son congie men suis venu ung iour visiter mon pays de vache et scavoir s’il y avoit encores en vie nul de mes parens. Pourtant, affin que ie fasse fin à ce prologue, tout ainsi comme ie me donne à cent mille panerees de beaulx diables corps et ame, trippes et boyaulx, en cas que ien mente en toute lhistoire dung seul mot, pareillement le feu sainct Antoine vous arde, mau de terre vous vire, le lancy, le mau lubec vous trousse, la caquesangue vous viengne, le mau fin feu de ricque racque, aussi menu que poil de vache, tout renforcé de vif argent, vous puisse entrer au fondement, et comme Sodome et Gomorre puissez tomber en soulfre en feu et abysme, en cas que vous ne croyez fermement tout ce que ie vous racompteray en ceste presente chronicque.

Used. Very Good conditions. May have soft reading marks and name of the previous owner.

An elaborate parody written in the 16th century, "Gargantua and Pantagruel" is a comic blend of energetic realism and carnival fantasy. The two main characters are giants, a father and his son, who have numerous adventures. Many different types of people are satirized during their chivalric exploits, from lawyers to theologians, generals to monarchs, with humor that is often grotesque or obscene. Intertwined with this crude comedy, however, is the wisdom of Renaissance learning, which exposes countless examples of human foolishness. Divided into two volumes, one describes a sullied giant who grows into a grand knight and prince, and the other portrays his erudite son who himself becomes a Renaissance Socrates. Rabelais' work is full of freedom and laughter, as well as a certain understanding that will give readers a renewed worldview.

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This text parodies everyone from eminent classical authors and schoolmen to Rabelais's own acquaintances. But the brilliance of the book lies not merely in these learned references, but in the story into which they are woven.

The Life of Gargantua and of Pantagruel (French: La vie de Gargantua et de Pantagruel) is a connected series of five novels written in the 16th century by François Rabelais. It is the story of two giants, a father, Gargantua, (pronounced: [ɡaʁ.ɡɑ̃.ty.a]) and his son Pantagruel ([pɑ̃.ta.ɡʁy.ɛl]) and their adventures, written in an amusing, extravagant, satirical vein. The text features much crudity, scatological humor, and violence. Lists of explicit or vulgar insults fill several chapters. The censors of the Collège de Sorbonne stigmatized it as obscene, and in a social climate of increasing religious oppression, it was treated with suspicion, and contemporaries avoided mentioning it.[1] According to Rabelais, the philosophy of his giant Pantagruel, "Pantagruelism", is rooted in "a certain gaiety of mind pickled in the scorn of fortuitous things" (French: une certaine gaîté d'esprit confite dans le mépris des choses fortuites). Rabelais had studied Ancient Greek, and he applied it in inventing hundreds of new words in the text, some of which became part of the French language.[2] Wordplay and risque humor abound in his writing. This is the celebrated translation by Burton Raffel [from Wikipedia article]

Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Biting and bawdy, smart and smutty, lofty and low, Gargantua and Pantagruel is fantasy on the grandest of scales, told with an unquenchable thirst for all of human experience. Rabelais's vigorous examination of the life of his times-from bizarre battles to great drinking bouts, from satire on religion and education to matter-of-fact descriptions of bodily functions and desires-is one of the great comic masterpieces of literature.

The unfettered exuberance of Gargantua and Pantagruel, the storms of phenomenal life it offers for our inspection, the honor it gives to the deformed, the cloacal, and the profane aspects of existence are at the very heart of Rabelais' genius. But the author of this fantasia on the lives of a father-and-son pair of giants was one of the most magnificent and magnificently learned products of the Renaissance; and he also represents, as well as any of its other great figures, that era's love of the human body and its exaltation of the human in the face of the divine. (Book Jacket Status: Not Jacketed)

Gargantua and Pantagruel (Royal Collector's Edition) (Case Laminate Hardcover with Jacket) 3.29

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.62

This coloring book is unlike any you've seen before. The artwork was drawn in the 1500s! Now in the public domain, these images depict intriguing and grotesque creatures. Some are mostly human, but many are not. There are fish-people, bog creatures, and inanimate objects given life. Many of the creatures are quite well-endowed, and there is indeed a phallic theme running through the figures. This coloring book is not for children!

The Comical Dreams of Pantagruel 0.57

New Book. Shipped From Uk. This Book Is Printed On Demand. Established Seller Since 2000.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.65

In Rabelais and Bakhtin, Richard M. Berrong demonstrates both the historical and textual weaknesses of the argument advanced by Mikhail Bakhtin and his influential study Rabelais and His World. The publication of Bakhtin's book in the West in the late 1960s brought both Rabelais and Bakhtin to the attention of students interested in the "New Criticism" in literature. Bakhtin agrued that the key to Rabelais's narratives was to be found in their language of popular culture, which was intended to free his readers from the ideological "prison house" of official, establishment discourse; to provide them with a nonofficial perspective from which to view—and combat—the establishment and its institutions. Since the publication of Bakhtin's study, scholars such as Peter Burke, Natalie Zemon Davis, and Carlo Ginzburg have shown that the relationship of the upper classes to popular culture changed in the first half of the sixteenth century. Previously these classes had participated fully in the culture of the people (while adhering to their own), but at that time they undertook to exclude popular culture from their lives and from their world. In his refutation of Bakhtin's thesis, Berrong demonstrates the complex and shifting role of popular culture in Rabelais's narratives. His conclusions should interest not only readers of Gargantua and Pantagruel but all students of the sixteenth century, since the use and exclusion of popular culture is an issue in the study of many of the writers, artists, and composers of the period.

In Rabelais and Bakhtin, Richard M. Berrong demonstrates both the historical and textual weaknesses of the argument advanced by Mikhail Bakhtin and his influential study Rabelais and His World. The publication of Bakhtin's book in the West in the late 1960s brought both Rabelais and Bakhtin to the attention of students interested in the "New Criticism" in literature. Bakhtin agrued that the key to Rabelais's narratives was to be found in their language of popular culture, which was intended to free his readers from the ideological "prison house" of official, establishment discourse; to provide them with a nonofficial perspective from which to view—and combat—the establishment and its institutions. Since the publication of Bakhtin's study, scholars such as Peter Burke, Natalie Zemon Davis, and Carlo Ginzburg have shown that the relationship of the upper classes to popular culture changed in the first half of the sixteenth century. Previously these classes had participated fully in the culture of the people (while adhering to their own), but at that time they undertook to exclude popular culture from their lives and from their world. In his refutation of Bakhtin's thesis, Berrong demonstrates the complex and shifting role of popular culture in Rabelais's narratives. His conclusions should interest not only readers of Gargantua and Pantagruel but all students of the sixteenth century, since the use and exclusion of popular culture is an issue in the study of many of the writers, artists, and composers of the period.

Écrit dans le bouleversement initié par l'imprimerie, ses premières versions accompagnant la fixation de la langue, le Pantagruel est doublement fondateur : c"est à mesure qu'il s'écrit que Rabelais découvre ses propres possibilités d'invention. L'exploration systématique qu'il y entreprend du non-sens, de l'incompréhensible et de la folie contribuera à reléguer son livre à l'ombre d'une glose impuissante à le suivre, et Rabelais lui-même sous la masse de préjugés qui le réduisent à un donneur de leçons au comique naïf - au point que son texte est déformé, déponctué dans toutes les éditions actuellement disponibles. Plus méconnu dans son propre pays que Cervantès ou Shakespeare, Rabelais a aussi trouvé protection derrière ce mur de préjugés : on pourrait bien redécouvrir aujourd'hui en avant de nous d'immenses terrains vierges où la langue reste le plus grand chemin de la subversion ; elle n'a jamais été si belle que dans ce premier instant d'un heurt formidable. En français, Romans 256 pages 13,5 x 18,2

Rip-roaring and rib-tickling, François Rabelais's irreverent story of the giant Gargantua, his giant son Pantagruel, and their companion Panurge is a classic of the written word. This complete translation by Donald Frame, helpfully annotated for the nonspecialist, is a masterpiece in its own right, bringing to twentieth-century English all the exuberance and invention of the original sixteenth-century French. A final part containing all the rest of Rabelais's known writings, including his letters, supplements the five books traditionally known as Gargantua and Pantagruel.This great comic narrative, written in hugely popular installments over more than two decades, was unsparingly satirical of scholarly pomposity and the many abuses of religious, legal, and political power. The books were condemned at various times by the Sorbonne and narrowly escaped being banned. Behind Rabelais's obvious pleasure in lampooning effete erudition and the excesses of society is the humanist's genuine love of knowledge and belief in the basic goodness of human nature. The bawdy wit and uninhibited zest for life that characterize his unlikely trio of travelers have delighted readers and inspired other writers ever since the exploits of Gargantua and Pantagruel first appeared.

244 full page engravings by the French master - from Rabelais, Gargantua and Pantagruel; Raspe, Baron Munchausen; Perrault, Tales; Cervantes, Don Quixote; The Bible, The Old and New Testament; La Fontaine, Fables.