Bauhaus-Universität Weimar

Titel:
A history of caricature and grotesque in literature and art
Person:
Wright, Thomas Fairholt, Frederick William
Persistente ID:
urn:nbn:de:gbv:wim2-g-1429385
PURL:
https://digitalesammlungen.uni-weimar.de/viewer/resolver?urn=urn:nbn:de:gbv:wim2-g-1433362
342 
Of 
Hz750'J' 
Caricature 
and 
Groz'q[Que 
form it is only a revifion of an earlier compofition, perhaps even an 
unacknowledged work of Rabelais himfelf, which had been preferved in 
manufcript in Beroald's family. 
Pantagruelifm, or, if you like, Rabelaifm, did not, during the iixteenth 
century, make much progrefs beyond the limits of France. In the 
Teutonic countries of Europe, and in England, the fceptical fentiment 
was fmall in cornparifon with the religious feeling, and the only fatirical 
work at all refembling thofe we have been defcribing, was the " Utopia " 
of Sir Thomas More, a work comparatively fpiritlefs, and which produced 
a very {light fenfation. In Spain, the itate of focial feeling was {till lefs 
favourable to the writings of Rabelais, yet he had there a worthy and true 
reprefentative in the author of Don Quixote. It was only in the feven- 
teenth century that the works of Rabelais were tranflated into Engliih; 
but we mutt not forget that our tatiritts of the laft century, fuch as Swift 
and Sterne, derived their infpiration chiefly from Rabelais, and from the 
Pantagrueliitic writers of the latter half of the iixteenth century. Thefe 
latter were molt of them poor imitators of their original, and, like all 
poor imitators, purfued to exaggeration his leaft worthy charaoteriitics. 
There is {till fome humour in the writings of 'Tabourot, the iieur des 
Accords, efpecially in his " Bigarrures," but the later productions, which 
appeared under fuch names as Brufcambille and Tabarin, ink into mere 
dull ribaldry. 
There had arifen, however, by the tide of this Iiitire which fmelt 
fomewhat too much of the tavern, another fatire, more ferious, which {till 
contained a little of the iiyle of Rabelais. The French Proteftants at iirlt 
looked upon Rabelais as one of their towers of Itrength, and embraced 
with gratitude the powerful proteotion they received from the graceful 
queen of Navarre; but their gratitude failed them, when Marguerite, 
though {he never ceafed to give them her protection, conformed out- 
wardly, from attachment to her brother, to the forms of the Catholic 
faith, and they rejected the fchool of Rabelais as a mere fchool of Atheiits. 
Among them arofe another fchool of fatire, a fort of branch from the 
other, which was reprefented in its infancy by the celebrated fcholar and 
printer, Henri Eitienne, better known among us as Henry Stephens. 
The
        

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