Book Description
A masterly new translation of Rabelais's robust scatalogical comedy
Parodying everyone from classic authors to his own contemporaries, the dazzling and exuberant stories of Rabelais expose human follies with mischievous and often obscene humor. Gargantua depicts a young giant who becomes a cultured Christian knight. Pantagruel portrays Gargantua's bookish son who becomes a Renaissance Socrates, divinely guided by wisdom and by his idiotic, self-loving companion, Panurge.
Book Description
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.
Parts of Gargantua and Pantagruel were banned upon their publication, and the whole of it has suffered in our century at the hands of translators too timid to say in modern English what Rabelais so frankly wrote in Middle French. Master translator Burton Raffel unapologetically brings to life in today's American idiom all the gusto of Rabelais's language. Raffel succeeds in making Gargantua and Pantagruel, so long a great unread classic, accessible and alive to the contemporary reader.
Customer Reviews:
Translation Alert!.......2007-08-04
Readers should be aware that this translation/interpretation has two
serious flaws. First, it's not particularly faithful to the original. In fact
the translators took great liberties many of which change the content
of the original.
Second, the English text is thoroughly antique. English being a language
that changes rapidly, the distance between our english and theirs is
great enough to render this text a bit difficult. The spelling, which comes
from a time before Dr. Johnson's Dictionary had time to standardize
orthography, is more than a little distracting.
So what to do? Well, the best thing is to read it in French if you can. Rabelais'
French is closer to the modern language and you should have little trouble
with it. If you can't, look for one of the annotated scholarly editions or
the translation by M.A. Screech. The latter is available only in a cheap
paperback that's not much fun to hold, but it may be the best avenue to
Gargantua for most of us.
Lynn Hoffman, author of the novel bang BANG
Decent though not exceptional translation.......2006-11-04
The positives about this edition of Rabelais' five book epic are: 1) the full inclusion of all chapters in all the books 2) a very readable text by Burton Raffael. The negatives for me were the lack of notes (though somewhat a formidable task considering the bulk of the text presented) and the occasional anachronism in his choice of translated names. Pretty minor - I still prefer Putnam's translation in the hard to find "Portable Rabelais," but this edition offers a full exposure to all the books in a lively language that preserves the spirit and philosophical intent of Rabelais.
Review of the Everyman's Library edition.......2006-03-23
Some of the other reviews summarize the plot and discuss Rabelais' style; my review is directed to people trying to decide which edition to buy. The Everyman's Library edition, which I just received, uses a late seventeenth-century English translation by Sir Thomas Urquhart and Pierre Le Motteux, not the recent Burton Raffel translation. (One might be led to assume that it reprints Raffel, given that the "Search Inside" feature on the Everyman's edition leads you to his translation in a Norton paperback edition.) One should approach the Urquhart/Le Motteux translation with some caution. Terence Cave points out in his (excellent) introduction to the edition that the translation is "extremely free" and expands the first three books by 50%, but at the same time he calls the translation "an extraordinary feat . . . a literary work in its own right." My sense after reading the first book is that he's right--the language has a lively and strange effect--but this is probably not the ideal introduction to Rabelais. There are no editor's notes. Moreover, the snippets of Latin, Greek, and other languages which riddle the text are left untranslated. Perhaps the phrase "charitatis nos faciemus bonum cherubin; ego occidit unum porcum, et ego habet bonum vino" gives you no problems, but if it does, I would recommend a different translation, like Donald Frame's, which Cave specifically recommends in the bibliographical note in his introduction.
I don't want to make this review too long, but it might be useful to see brief excerpts from the Urquhart/Le Motteux, Donald Frame, and Burton Raffel translations for you to judge for yourself which one you would enjoy spending time with. (I don't have the Cohen translation published by Penguin). Here's the description of Gargantua's conception at the opening of Book 1, chapter 3, as rendered by Urquhart/Le Motteux (remember, late seventeenth-century English):
"GRANDGOUSIER was a good fellow in his time, and notable jester; he loved to drink neat, as much as any man that then was in the world, and would willingly eate salt meat: to this intent he was ordinarily well furnished with gammons of Bacon, both of Westphalia, Mayence and Bayone; with store of dried Neats tongues, plenty of Links, Chitterlings and Puddings in their season; together with salt Beef and mustard, a good deale of hard rows of powdered mullet called Botargos, great provision of Sauciges, not of Bolonia (for he feared the Lombard boccone) but of Bigorre, Longaulnauy, Brene, and Rouargue. In the vigor of his age he married Gargamelle, daughter to the King of the Parpaillons, a jolly pug, and well mouthed wench. These two did often times do the two backed beast together, joyfully rubbing & frotting their Bacon 'gainst one another, insofarre, that at last she became great with childe of a faire sonne, and went with him unto the eleventh month . . ."
Donald Frame's version, in up-to-date English:
"GRANDGOUSIER was a great joker in his time, loving to drink hearty as well as any man who was then in the world, and fond of eating salty. To this end, he ordinarily had on hand a good supply of Mainz and Bayonne hams, plenty of smoked ox tongues, an abundance of salted mullets, a provision of sausages (not those of Bologna, for he feared Lombard mouthfuls), but of Bigorre, of Longaulnay, of La Brenne, and of La Rouergue. In his prime, he married Gargamelle, daughter of the king of the Parpaillons, a good looking wench, and these two together often played the two-backed beast, so that she became pregnant with a handsome son and carried him until the eleventh month."
Here is the passage as it stands in the original 1534 edition of Gargantua (following the original orthography):
"Grandgouzier estoit bon raillard en son temps, aymant a boyre net autant que home qui pour lors feust on monde, & mangeoyt volentiers salé. A ceste fin avoit ordinairement bonne munition de jambons de Magence et de Baionne, force langues de beuf fumees, abondance de andouilles en la saison et beuf salé a la moustarde. Renfort de boutargues, provision de saulcisses, non de Bouloigne (car il craignoit ly bouconé de Lombard) mais de bigorre, de Lonquaulnay, de la Brene, & de Rouargue. En son eage virile espousa Gargamelle fille du roy des Parpaillos, belle gouge & de bonne troigne et faisoient eulx deux souvent ensemble la beste a deux douz, joyesement se frotans leur lard, tant qu'elle engroissa dun beau filz, & le porta jusques a lunziesme mois."
Notice that that the ribald detail "joyesement se frotans leur lard," rendered by Urquhart/Le Motteux as "joyfully rubbing & frotting their Bacon 'gainst one another," is altogether missing in Frame's version. Perhaps Frame's version is too genteel in omitting this passage. It's not only a delightful example of what Bakhtin described as the "lower bodily stratum" in Rabelais, but it links Grangousier's culinary preferences that open the passage with the conception of Gargantua (who will turn out to be quite a glutton himself). With this in mind, consider Burton Raffel's translation:
"In his time, Grandgousier was a fine tippler and a good friend, as fond of draining his glass as any man walking the earth, cheerfully tossing down salted tidbits to keep up his thirst. Which is why he usually kept a good supply of Mainz and Bayonne hams, plenty of smoked beef tongues, lots of whatever chitterlings were in season and beef pickled in mustard, reinforced by a special cavier from Provence, a good stock of sausages, not the ones from Bologna (because he was afraid of the poisons Italians often use for seasoning), but those from Bigorre and Longaulnay (near Saint-Malo), from Brenne and Rouergue. When he became a man, he married Gargamelle, daughter of the King of the Butterflies, a fine, serviceable female--with a good-looking face, too. And they whacked away at making the beast with two backs, happily whipping their lard together, so successfully that she conceived a handsome boy and carried him for eleven months."
Notice that in addition to preserving the bawdy language, Raffel resolves the name of Gargamelle's father, the king of the "Parpaillons," to "Butterflies." (In modern French, "papillons.")
Hopefully these examples give you a sense of which translation you would most enjoy. I like the Urquhart/Le Motteux version but would have preferred editor's notes to explain unfamiliar terms and translations of at least the Latin and Greek citations. I think Frame or Raffel would likely be preferable for first-time readers of Rabelais.
Not only a joyful and bawdy romp.......2005-10-28
The title characters of this amazing classic are father and son, respectively. Gargantua is so huge that men climbing into his mouth got stuck in the crevices of his teeth as if they were food particles. Pantagruel, while being born, was so enormous that his unfortunate mother had to be ripped open to accomodate his exit from her womb.
_Gargantua and Pantagruel_ has lots of screamingly funny toilet humor, so much so, that occasionally I had to prevent myself from falling off my seat with laughter. Yet, there is really nothing pornographic about this book. There is absolutely no graphic sexual activity. Rabelais often quotes Greek, Roman, and French philosophers and intellectuals while recounting his tales. Rabelais also effectively satirizes political leaders, judges, Churchmen, and taste-makers of his day.
On his voyages to foreign lands, Pantagruel, takes along, among others, his closest friend, Panurge and Friar John. Seemingly a braggart, Panurge is really a man suffering from great insecurity and cowardness. He is as loveable as the Cowardly Lion in the Wizard of Oz. Panurge is also very introspective and learns quite a bit about himself by the conclusion of the book. The monk, Friar John, is, on the other hand, a brave and swashbuckling character, who would not hesitate to run a sword through a seeming enemy. Many of the surroundings and individuals on these uniquely strange places are so unusual and the situations so inventive that they boggle the mind.
I read _Gargantua and Pantagruel_ in the Modern Library edition, which was fortunate, because some of the earlier translations used too formal English (lots of "thees" and "thous" and "haths).
This is a book of great intelligence and thoughtfulness, which, as I noted at the beginning of this review, is also delightfully bawdy and imaginative. I only wish one of my high school English teachers had made _Gargantua and Pantagruel_ required reading.
"Gargantua and Pantagruel".......2005-01-09
"Gargantua and Pantagruel"
A 16th-century medical doctor and Catholic monk, François Rabelais spent decades writing a series of five books, collectively known as "Gargantua and Pantagruel," that became wildly popular for their dark and bawdy humor. To this day, the massive tome still ruffles religious feathers. The current edition of The Catholic Encyclopedia calls Rabelais "a revolutionary who attacked all the past, scholasticism, the monks; his religion is scarcely more than that of a spiritually-minded pagan.... His vocabulary is rich and picturesque, but licentious and filthy."
Sex, drinking, utopian ideals, and heretical philosophy populate this fantastical saga that follows the adventures of a giant and his son. What's even more intriguing are the multitude of hidden messages, Gnostic insights, alchemical secrets, and herbal obsessions (e.g., cannabis) that bubble far beneath the surface of these tall tales.
Hey, the book is dated, no doubt. But it can still get the Church's metaphorical cloisters all bundled up in a ruffle... so don't let the Pope catch ya readin' it, son.
(This review is being posted on Amazon under the legal approval of a Creative Commons License -- material can be used elsewhere so long as the original author and website are credited. Author: Lucas Brachish. Website: celebritycola.blogspot.com)
Book Description
122 bizarre figures: half-human insects, fish with human limbs, men with drums for torsos, much more.
Customer Reviews:
Quirky, curious, odd and bizarre.......2005-11-11
If you are looking for a book of cute little critters then this one is not for you. The figures are rather odd but very expressive. Most are neither person or animal; many with armour, cloaks, single socks and scabbards. It is a truly bizarre collection but for someone looking for something very different, this book is a gem.
The drawings are line drawings with a little 'texture'. They would be great for altered books, collage or card art. I've taken to painting mine with twinkling H20s for a vibrant watercolour which suits these unusual creations.
As with many Dover books - you can use up to ten images in your art copyright free. These are so delectable that one is all you need to make a statement.
Average customer rating:
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Rabelais's Carnival: Text, Context, Metatext (New Historicism)
Samuel Kinser
Manufacturer: University of California Press
ProductGroup: Book
Binding: Hardcover
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ASIN: 0520065220 |
Book Description
How is it possible, after four centuries, that a major episode in Rabelais's novels remains systematically misread? The episode, which playfully and grotesquely treats the relation of Carnival to Lent, occurs in Rabelais's Fourth Book, his last and most artfully crafted novel. Samuel Kinser argues that the text has been distorted because critics have not attended to the episode's performative as well as literary contexts, overlooking the innovative use Rabelais made in his work of his immediate world. In this original interpretation of the Fourth Book, Kinser evokes the gestures, games, and visual, oral, bodily semantics of Carnival and Lent as they were performed in Rabelais's day. He also underscores the importance to Rabelais of the invention of printing, an innovation which revolutionized the relationships of author and reader. Understanding this and fearing it, Rabelais adopted an extraordinary set of disguises as an author, disguises which in their bewildering interplay constitute the truest sense of his carnival.
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Rabelais and Bakhtin: Popular Culture in "Gargantua and Pantagruel"
Richard M. Berrong
Manufacturer: University of Nebraska Press
ProductGroup: Book
Binding: Hardcover
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ASIN: 0803211910 |
Book Description
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.
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Gargantua y Pantagruel - Ilustraciones de Gustavo Dore
Gustavo Dore , and
Francois Rabelais
Manufacturer: Edimat Libros
ProductGroup: Book
Binding: Hardcover
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Rabelais, Francois
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ASIN: 849764283X |
Customer Reviews:
The Horror! THE HORROR!!!!!!!!!!.......2004-06-15
In nine short words: This is the worst book I have ever read. It is awful, simply awful! First of all, it's 800+ pages long, so it takes ages to read. The jokes that are supposed to be rude are outdated and disgusting. The only upside of this is that that's where the word 'Gargantuan' came from, and I don't think we could live without that word.
Fabulous.......2004-01-11
I was gonna compare this one to Don Quixote to see another reviewer beat me to it! Well I shall anyway.
Both are one of the first examples of novels, both are extremely long, both are successful and funny satires of society (in this case of the 16th century) at large.
The difference is this book is much less philosophical and more slapstick. It has less high concepts and more toilet jokes. But that's what I found great about it! It is much more farcical and is about the furthest you can get away from realism. The author does not try to be consistent in terms of scale (the book - made up of five books - chronicles the life of the giants Gargantua and his son Pantagruel) but that's the point. Every conceivable historical figure and literary work is mocked.
I think this is one of the first postmodern works(!). Rabelais experiments with heaps of different text types, he has certain chapters which are lists of things pertaining to happenings (like insults hurled by two characters at each other - over 100 in all) etc etc. He goes off on tangents, talks about all the topics on earth from scholarship to sign language. And the antics of the characters are hilarious.
Personally I found this just a tad better than Don Quixote (4 stars). Yes, this book is also a tad too long. But it's actually five books and with short chapters on diverse topics, you can just pick it up and read another chapter. The translation is great, using white space and punctuation in a very unique way and highlighting the comic nature of the book. In fact, Urquhart's translation is a masterpiece in itself.
A great, great book to knock down your sense of decency and pompousness.
Not so..not so...........2001-03-03
Bakthins critics on GARGANTUA and PANTAGRUEL created too much stir over the book. But it is not so good, the jokes are too scatological and its popular knowledge does not aid too much, do not make us tremble so much as in DON QUIJOTE. Well, that's it.
Book Description
The first book in a series featuring characters from the
D&D core rules.
Featuring the iconic characters that appeared throughout the latest edition of the
D&D game, this new series will attract new players and readers to the various worlds featured in the Wizards of the Coast book publishing line. The already familiar characters and
D&D-related content will also make this series very approachable to current players.
Customer Reviews:
Basically an evening of D&D.......2006-05-25
Imagine you get together with a number of your friends for an evening's worth of D&D. Afterward, your DM transcribes the adventure, adding some dialogue/love interest/background story for effect. That's what this basically is. The young adventurers fight spiders that are being stirred up by a goblin war going on underground.
On one hand, it makes me want to play D&D- it smacks of classic adventure. On the other hand, it's painfully unoriginal. It's worth the time it takes to read- maybe an afternoon or so.
Short and sweet! .......2005-09-18
Short and sweet! That's what I liked about this book. I felt he captured the personalities of the characters and he didn't make an epic novel of it! Easy and fun to read! And... (I actually stole a few ideas for my own D&D campaign!)I recommend it!
Bland, Unintersting, but thankfully short........2004-03-08
The story from this book is like reading an actual Dungeons and Dragons game. It's very straightfoward and reads like a D&D adventure. I enjoyed it for the most part because I play D&D and just like to read anything about it.
However, T.H. Lain has got some real work to do if he ever wants to be a real author. The story is not written well at all. Some of the conversations between the characters are laughable - and not the ones that are supposed to be humorous. There are parts where I had to re-read paragraphs because his writing style just lost me. It's not really a writing style, more of a lack of writing skills.
If you want a fair quick read, go ahead and pick it up... otherwise there are tons of other great fantasy books to read that are much much better.
Short, not sweet.......2003-12-18
I suspect that T.H. Lain is in this instance actually Phillip Athans. The poor prose, lack of a cohesive plot and reliance on gory fights bear his thumbprints.
Essentially we have 4 neophytes trying to save a village from spiders. The spiders being disturbed by a hobgoblin who wishes to be king of the goblin tribes. The adventurers in this short novel obviously don't get fleshed out, which is ok since this is just supposed to be an entertaining dungeon crawl.
The party is quickly seperated and the novel begins to show severe weaknesses. The author moves back and forth from character to character too quickly in buzz-flash MTV type video edits for someone with absolutely no attention span. I am speaking of repeatedly moving from character to character after just a page or less quite often. The characters roam around the dungeons like beheaded chickens and of course prevail. Rather than being a short and sweet fun dungeon romp we have a short, but confused and stupid dungeon romp.
A very weak start to this series. The good points, what few there are, would be the ambigous morality of the goblins being neither good nor bad, just cowardly and selfish, the four primary characters, though unfleshed are pleasent enough excepting the halfling with her modern slang and foul mouth.
If you want something quick, and unchallenging you might want to give this a look, but there is better fluff reading out there.
Not so good . . ........2003-07-28
To be honest, this is the only T.H. Lain book I've read, so I can only judge his writing with this particular novel. That being said, it was an all around weak effort.
In itself, the story had potential .... The problem lies in Lain's writing style . . . or more precisely, his lack there of. I would call his writing as an odd cross between an early-teen novelist and a confused adult supplemental writer. Sometimes it is way too simplistic, and other times you have to read the sentence five times before you can figure out what he's talking about.
Now, I expected the characters to be one-dimensional, and the plot to be straight forward. After all, it's D&D. This alone did not bother me. I didn't buy a book called "The Savage Caves" for an epic Tolkenesque saga. As I mentioned before, the tale had promise. Unfortunately, it was unfulfilled.
Lain's most common criticism is that some of his characters use dialog that sounds like it comes from the 90's. This can be bothersome. But what I found irritating was his constant use of the same word over and over. The words do not flow from the pages. Everything is choppy and lacks vivid meaning. His descriptions leave much to be desired. Often you'll read phrases like this, "The cave rounded and opened up into a larger cave in which the floor leveled off, making it easier to run through the cave." What is that?
Also, the editing is either atrocious or was never done in the first place. The are several typos throughout the piece, and sentence structure would make any self-respecting writing keel over and die of shock. Perhaps Lain has improved over time (he had written six or so of these books), but don't read this one thinking you're reading a literary masterpiece.
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Cave of the Living Skeletons
Cindy Savage
Manufacturer: Pages Publishing Group
ProductGroup: Book
Binding: Paperback
Mysteries, Espionage, & Detectives | Science Fiction, Fantasy, Mystery & Horror | Literature | Children's Books | Subjects | Books
Contemporary | General | Literature & Fiction | Subjects | Books
ASIN: 0874063981 |
Product Description
Fantastic black and white illustrations of the adventures of Robert E. Howard's Conan the Barbarian.
Book Description
This digital document is an article from American Antiquity, published by Society for American Archaeology on April 1, 1996. The length of the article is 7436 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
From the author: In the excavation of Pendejo Cave (FB 9366) near Orogrande, New Mexico, 16 friction skin imprints were found in five stratified zones on clay nodules, baked at over 120 [degrees] C. After careful analysis, expert dermatoglyphologists determined that these imprints had positive primate characteristics. The imprints are probably of human origin, since no other primates are known to have existed in prehistoric New Mexico. Eight of the imprints occurred in three well-dated zones .falling in the late Pleistocene. These zones have direct radiocarbon dates between 12,000 and 37,000 B.P. In addition to their association with radiocarbon determinations, the prints come from three of 24 stratified zones, intensively studied by geologists and pedologists, that are dated in sequence by 34 other radiocarbon determinations acquired from four different laboratories. The imprints are associated with a column of over 35,000 paleontological specimens and more than 15,000 botanical remains. These specimens indicate Pleistocene changes and supply evidence of human transportation and modification of various materials. The prints are also associated with artifacts, ecofacts, features of human construction, and human remains. The imprint specimens therefore provide evidence of Pleistocene human occupation in the New World.
Citation Details
Title: Late Pleistocene human friction skin prints from Pendejo Cave, New Mexico.
Author: Donald Chrisman
Publication:
American Antiquity (Refereed)
Date: April 1, 1996
Publisher: Society for American Archaeology
Volume: v61
Issue: n2
Page: p357(20)
Distributed by Thomson Gale
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