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| Author | François Rabelais |
|---|---|
| Language | French |
| Genre | Novel |
Publication date | 1552 |
| Publication place | Kingdom of France |
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.