Rabelais

Come, thou that hast inspired thy Aristophanes, thy Lucian, thy Cervantes, thy Rabelais, thy Moliere, thy Shakespear, thy Swift, thy Marivaux, fill my pages with humour; till mankind learn the good-nature to laugh only at the follies of others, and the humility to grieve at their own.

But he who dodges hospitals and jails, and walks fast crossing grave-yards, and would rather talk of operas than hell; calls Cowper, Young, Pascal, Rousseau, poor devils all of sick men; and throughout a care-free lifetime swears by Rabelais as passing wise, and therefore jolly; --not that man is fitted to sit down on tomb-stones, and break the green damp mould with unfathomably wondrous Solomon.

It was an opportunity for him to talk, and for me to hear, that old language of Rabelais, which is still in use in some Canadian provinces.

I suppose that the entity of the poet may be represented by the number ten; it is certain that a chemist on analyzing and pharmacopolizing it, as Rabelais says, would find it composed of one part interest to nine parts of self-esteem.

He would have preferred Rabelais' 'Gargantua' to the 'Zadig' of Voltaire: and, upon the whole, practical jokes suited his taste far better than verbal ones.

While Crowley claimed his signature phrase was dictated to him via a disembodied entity called Aiwass, it can be traced back to both Rabelais (whose Abbey of Thelema in Gargantua and Pantagruel had a similar slogan) and St.

Imagining Rabelais in Renaissance England By Anne Lake Prescott New Haven: Yale University Press, 1998

Its method is entirely scholastic, but instead of following Aristotle or Plato or the early Church fathers as guides to construction, he follows Erasmus and Rabelais. This is an eccentric, irrational, very entertaining and sometimes irritating method.

The Portrayal of Community in Rabelais's Quart Livre.

and comments on Shakespearean drama, Dante, Heine and Goethe from Bakhtin's dissertation on Rabelasian carnival that were not included in the 1975 [sic: 19657] book on Rabelais. (107n.2)

This piece would seem more appropriate to Rabelais, who provides the context, or should we say pretext, for Une fete chez Rabelais (Harmonia Mundi HMC 901491, rec 1994), another selection of polyphonic chansons and instrumental pieces from the Ensemble Clement Janequin.