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"3' 3‘3 '3333 3"3 333'“3 3333. .3333,3‘3 .333 "3'33 ‘3'3‘33' 3"' '33 3'33 o 3333333. 3333'} 3' “3 '3 ' ' 3 3" ‘33'I""""'3"3"33 “3.333 ' 1333 “33 33“: 333333 33333 3""3 33333333 3 -- 3.333 ‘33‘ 3"33 333 3I '3333 3333333333‘3‘33‘ ""3 3 ‘3‘33‘ t'3'33 4 “313 3333333< ' 3333"} 333, '.3 33333 3333 333 3 3.333" 333333 33333333333333333 333. 333' 33 333 3‘33 ma“ ~.~._4v 3'3333.:..333333"‘33‘33333 3 "133 ....... 333333333333' 33 3333333333 3"33 "333’ 3‘33 .33 33:3 33 “33 3333333 33333333 ‘3‘" 3333333. 33.33333 , 33333 .33 3333, 33333333 .3 . 33333‘3‘3333 3333333‘33 4-”, 3333333333 i?- —-w - -_._,._ — -r—"z-J.‘ I W' - meq .._-_ ‘33 _...:-‘~...._.... 333. ‘333333 3333333 3‘33 33333333“ 33333333 ———“—'M THESKS This is to certify that the dissertation entitled THE GROTESQUE IN RABELAIS'S QUART LIVRE presented by PAUL W. LOGAN has been accepted towards fulfillment of the requirements for Ph.D. degreein French Majgr/ profusoé’QJ-M" Due December 21, 1982 MS U is all Affirmative Action/Equal Opportunity Institution 042771 RETURNING MATERIALS: MSU Place in book drop to ' LIBRARIES remove this checkout from m your record. FINES will be charged if book is returned after the date stamped below. THE GROTESQUE IN RABELAIS'S QUART LIVRE BY Paul W. LOgan A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Romance and Classical Languages 1982 ABSTRACT flatly THE GROTESQUE IN RABELAIS'S QUART LIVRE 7‘ by A3 Paul W. Logan Near the end of the fifteenth century excavators unearthed a group of Roman buildings containing strange and fantastic frescoes and reliefs depicting incongruous combinations of human and animal forms along with floral decorations and foliage. Found in “grotte” or underground caverns, these works were designated "grottesche" or "grottesca." This ornamental style became popular throughout Europe and in 1532, the year that saw the publication of Rabelais's Pantagruel, the term "crotesque" came into usage in France. Rabelais himself uses the word in the Tiers Livre and was apparently familiar not only with the term but also with the pictorial and decorative style which fused disparate elements into a single, ambivalent image. In the nineteenth century, John Ruskin pointed out the grotesque's fundamentally ambivalent nature, recognizing that both comic and fearful elements are necessary components of the grotesque image. Mikhail Paul W. Logan Bakhtin, the first modern critic to apply Ruskin's definition to Rabelais's work, underlined the profound ambivalence of Rabelais's grotesque imagery with parti- cular reference to Pantagruel and Gargantua. This study analyzes the use and importance of the grotesque in the Quart Livre, perhaps the most ambivalent and grotesque of all Rabelais's works. Whether portraying entire races like the Papefigues, the Papimanes and the Andouilles or de— scribing the carnivalesque degradation of Panurge, Rabelais makes full use of the imagery, language and style characteristic of the grotesque. Comedy in the Quart Livre depends largely upon the ambivalent images of physical and verbal abuse and upon grotesque bodily humor. The ludicrous and the terrible conjoin in the depiction of the lower body to dispel fears of the un- known and to provoke therapeutic laughter. Satire in the Quart Livre derives from the unofficial tradition of Menippean satire and here, too, Rabelais enlists the grotesque to heighten its comic value. Grotesque inver- sion is the primary stylistic device by which both comedy and satire are reinforced as Rabelais humbles and ridi- cules the mighty. The paradoxical, grotesque cosmos created in the Quart Livre is, at base, a function of Rabelais's skillful use of the grotesque artistic mode. ACKNOWLEDGEMENTS I would first like to express my gratitude and deepest appreciation to my director, Professor Frieda S. Brown, for her excellent assistance and endless encouragement in the formation and completion of this dissertation; it has been my very good fortune to be able to work with such an outstanding reader and teacher. I would also like to thank the other members of my disser- tation committee, Professors Ann T. Harrison, Nicholas DeMara, George Mansour, and Laurence M. Porter, for their perserverance, insight, and critical suggestions; their faith in my ability to complete this project was a source of constant inspiration. To my wife Nancy, I express my utmost love and gratitude for her care and support throughout the dissertation's completion. In addition, I would like to add a note of Special thanks to my good friends Niky J. Stoyanoff, James Ferguson, Ricardo Briones, and Mark W. Andrews; their many unseen contri- butions to this work will never be forgotten. ii TABLE OF CONTENTS THE GROTESQUE: AN INTRODUCTION AND DEFINITION . II. COMEDY AND THE GROTESQUE . 21 III. MENIPPEAN SATIRE AND THE GROTESQUE 51 IV. INVERSION AND THE GROTESQUE. 83 V. THE GROTESQUE BODY AND OBSCENITY . 110 VI. CONCLUS ION O O O O O O O O O O O O 150 SELECTED BIBLIOGRAPHY . 165 iii I. THE GROTESQUE: AN INTRODUCTION AND DEFINITION Near the end of the fifteenth century excavators unearthed a group of Roman buildings containing strange and fantastic frescoes and reliefs. These works depict incongruous combinations of human and animal forms along with floral decorations and foliage.1 Because the works were found in "grotte" (underground caverns), they were initially designated by Italian words per- taining to caves: "grottesche," "grottesca."2 During the sixteenth century, this ornamental style became popular in Italy and spread throughout Europe, repre- sented in painting, architecture, engraving, and book decoration. Two notable examples of this grotesque revival are Pinturicchio's ceiling vaults in the Siena cathedral library (1502) and Raphael's decorative fresco borders for the Stanze in the Vatican (1515) (Clayborough, pp. 2-3). The first great monument outside Italy which in- corporated the rediscovered style was Fontainebleau, begun in 1530 at the request of Francis I. In keeping with contemporary French taste for Italian art, many architects and painters were lured from Italy to aid in the design and construction of the chateau. With these artists, the exotic and intricate meanderings of the grotesque were introduced to France. Among the artists were 11 R0530, who built "la galerie du Roi" (completed in 1531) and Primaticcio, under whose super- vision the king's chambers were finished in 1532.
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