Le Quart Livre (The Fourth Book in English) is a novel by François Rabelais and published in its final version in 1552. The author was confronted with significant challenges in the context of this sequel to the adventures of Pantagruel, particularly in the wake of the publication of The Third Book and the subsequent opposition from theologians at the Sorbonne. Nevertheless, he obtained the support of Cardinal Odet de Coligny, and despite another attempt at censorship, the work achieved rapid success. The prologues serve to illustrate this polemical context.
The novel, written with the comic flair typical of François Rabelais, is a sea voyage narrative in which the protagonists encounter fantastical creatures and places that resonate with the author's humanist concerns. Following their decision at the end of The Third Book, Pantagruel, Panurge, and their companions embark on the Thalamège towards the oracle of the Divine Bottle, which they will reach in the Fifth Book.
The novel employs the conventions of the travel narrative, evoking the intellectual curiosity and sense of discovery that characterized the era of great explorations. However, it subverts the conventional wisdom of these discoveries through the use of satire and fantastical elements. The narrative draws inspiration from Greek mythology, particularly the quest for the Golden Fleece.
The structure of the novel has been interpreted in several ways. It has been seen as a juxtaposition of independent episodes lacking overall cohesion, as a narrative structured by recurring themes (such as sacraments, storms, and monsters), or conversely, as a highly structured text centered around the battle against the Physeter (a whale-like creature).
The narration is imbued with a pronounced allegorical quality, particularly evident in the enumeration of locales. However, this aspect is obfuscated by the blending of stylistic elements and subjected to satire by the narrator himself. Conversely, the satire more overtly reflects François Rabelais' humanist beliefs, denouncing the corruption of justice and, more significantly, resonating with Evangelical critiques of papal excesses.
The style of Le Quart Livre is characterized by a celebration of joyful erudition. The use of puns, proverbs, aphorisms, lists, and onomatopoeias reflects a linguistic playfulness and a contemplation of the nature of words. The novel's conclusion, particularly the episode involving the frozen words, illustrates the pivotal role of language in the narrative, with the interpretation of signs at the core of this passage.
As in Rabelais' other novels, the comic dimension of Le Quart Livre is marked by a certain ambivalence. This ambivalence is evident in the representation of monsters, which build the burlesque and fantastical dimension of the story while also carrying rich symbolic implications. Similarly, the obscene themes contribute to the novel's satirical charge while reflecting its carnivalesque dimension and Evangelical ideals.
François Rabelais draws from a multitude of ancient and contemporary sources to construct his novel, including the works of Lucian of Samosata and Teofilo Folengo. His reference to Hippocrates demonstrates his interest in medicine, while the incorporation of elements from various dramatic genres lends a theatrical quality to numerous scenes.
Genesis
Biographical context
The documented evidence concerning Rabelais' movements and activities between the publication of The Third Book in 1546 and the final version of Le Quart Livre in 1552 is insufficient. The condemnation of The Third Book by the Sorbonne authorities resulted in his exile in Metz, which was then a free imperial city. It is possible that he undertook a diplomatic mission on behalf of the Du Bellays during this period. It seems probable that he wrote at least part of Le Quart Livre of 1548 in that location, as evidenced by allusions to the subsequent sessions of the Council of Trent. On March 31, 1547, King Francis I, who had previously demonstrated support for Rabelais, passed away. It is possible that Rabelais accompanied his protector, Cardinal Jean du Bellay, on his journey to Rome, where he arrived on September 27, 1547. Alternatively, he may have joined him later, after depositing the unfinished manuscript of his latest novel in Lyon between the summer of 1547 and early 1548. In 1549, the was published, in which the author lauded the cardinal's contributions to the crown. The circumstances surrounding the publication of Le Quart Livre in 1552 were more propitious, with Rabelais overseeing the printing of his book and receiving direct support from Odet de Coligny and King Henry II.
From Le Quart Livre of 1548 to the one of 1552 The initial iteration of Le Quart Livre, published in 1548, comprised a mere eleven chapters. Three editions have been preserved: two published in Lyon without the name of the publisher, but likely from the workshops of Pierre de Tours, and one with his name but undated. The text is notable for its unfinished nature, concluding abruptly in the middle of a passage. This is followed by a legal phrase: "Is it true that because more is not said?" Many hypotheses have been put forth to account for this hasty publication. One such hypothesis is that the manuscript was stolen, a claim that is contradicted by the presence of a prologue and the printing patent of 1550. Another hypothesis is that the writer was experiencing financial difficulties or that the publication was intended to respond to immediate political events, such as Charles V's refusal to admit Henry II to the Order of the Golden Fleece. The editions printed by Pierre de Tours do not exhibit the orthographic traits that Rabelais typically employed, suggesting that the author entrusted the manuscript to a Parisian publisher, who subsequently released a lost edition. Pierre de Tours then republished this edition, imposing the norms of his workshop.
The final version was published on January 28, 1552, by Michel Fezandat, accompanied by a short text, the "Brief Declaration", which may be considered a kind of lexicon. The attribution of this text to Rabelais was once debated. The sale of the novel was suspended for two weeks by Parliament due to censorship by the . However, this did not prevent the book's swift success, as evidenced by the appearance of reprints and counterfeit editions that same year.
Analytical summary
Defiant prologues
The 1552 edition commences with an epistle to Cardinal Odet de Coligny, through whom the privilege of 1550 had been obtained. In a manner that resonates with the sentiments expressed in the preface of 1548, Rabelais elucidates that his Pantagruelian mythologies are principally designed to provide entertainment for his readers. Additionally, he makes a point of noting that, according to Hippocrates, a physician should not hesitate to disguise themselves and adopt a cheerful demeanor for the benefit of the patient. He laments the accusations of heresy leveled by certain individuals, whom he identifies as "Cannibals, misanthropes, agelasts." These are likely references to attacks from the Sorbonne, Calvin, or Puy-Herbault, a cleric from the abbey of Fontevraud. He also expresses gratitude to the cardinal for the protection he and the king provide. The epistle, while not displaying the usual verve of Rabelais' prologues, asserts the dignity of comedic intent and appeals for the reader's benevolence. It likens this appeal to that of King Francis I listening to the readings of Rabelais' books by Anagnoste Pierre du Chastel. It is worth noting that the epistle pays homage to the living, a salvific word that counters misunderstandings and slander. In this context, the cardinal is compared to the Gallic Hercules, a figure of eloquence invented by Lucian. The decision to persist in writing is associated with the continuation of his medical practice, as evidenced by the signature on the letter, which mentions the author's profession. Rabelais reaffirms the seriousness of his comedic undertaking and asserts his right to be judged on the merits of his work alone.
In contrast, the 1548 prologue serves to elucidate the fundamental characteristics and purpose of the work. It also makes oblique references to the political landscape through its portrayal of the conflict between magpies and jays.This evokes the war against Brittany. Furthermore, it underscores the hypocrisy and mendacity of those who have leveled accusations against the author. The 1552 prologue, in its final iteration, introduces a more complex structural framework and a broader scope of content. Rabelais, in contrast to his previous work, presents a more conciliatory tone, advocating for a lifestyle of moderation and humility. This is exemplified in his portrayal of Zacchaeus and Couillatris, who are directly inspired by an Aesop fable. The woodcutter, in his distress, was so vocal in his lamentations that his pleas reached Jupiter, who was otherwise engaged in addressing matters of international politics with the other deities of Olympus, including the ongoing conflict between Moscow and the Tartars. Jupiter requests that Mercury present the unfortunate man with three axes (his own, a golden one, and a silver one) and to sever his head if he makes an incorrect choice. Couillatris makes the appropriate decision, and in recognition of his humility, he is rewarded with the other two axes, which prove to be a valuable addition to his possessions. However, neighboring peasants attempt to emulate his actions but ultimately select the fatal golden axe. This prologue, nevertheless, presents some ambiguity, as the virtuous man's complaints exert a favorable influence on destiny, prompting readers to consider the underlying implications of the praise of simplicity.
Sea voyage
A mysterious itinerary
The narrative commences with the embarkation towards the oracle of the Divine Bottle, which was referenced at the conclusion of The Third Book. On the day of the Vestal Feast, Pantagruel and his companions set sail aboard the Thalamège, a ship whose name had been presented as a common noun in the previous novel. They were accompanied by twelve other ships, the descriptions of which were replete with religious and alchemical symbols. The initial description of the route, which aimed to circumvent the Cape of Good Hope, is somewhat opaque, potentially either an intentional or inadvertent attempt to perplex the reader. It suggests two possible courses of action: a northwest trajectory, following the route of Jacques Cartier, or a northeast route, as implied by the mention of Indians who had taken this route to reach Germany.