User:Jahsonic/AHE/France/Rabelais and the lower body
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| :"The arse seems to be condemned to live in the dark. Among the different parts of our body, it leads the life of a tramp. It truly is the idiot of the family. Yet it would be a miracle if this black sheep of the body did not have a ready opinion of the events taking place in higher regions, just like those who have been rejected by society often express the most sober views of it." --Peter Sloterdijk, ''[[Critique of Cynical Reason]]''. | :"The arse seems to be condemned to live in the dark. Among the different parts of our body, it leads the life of a tramp. It truly is the idiot of the family. Yet it would be a miracle if this black sheep of the body did not have a ready opinion of the events taking place in higher regions, just like those who have been rejected by society often express the most sober views of it." --Peter Sloterdijk, ''[[Critique of Cynical Reason]]''. | ||
| - | Although ''[[Gargantua and Pantagruel]]'', that masterpiece of the French physician and writer Rabelais, is rather more emetic than erotic, more scatological than sensual, it cannot be omitted from any history of eroticism. The adjective that best fits Rabelais's '[[anti-eroticism]]' is witty: humor and the erotic go hand in hand with him. Rabelais uses the human body, especially its lower half, to offer a satirical look at society. As a physician, this physicality comes naturally to him, as humorist he makes good use of it. | + | Although ''[[Gargantua and Pantagruel]]'', that masterpiece of the French physician and writer Rabelais, is rather more emetic than erotic, more scatological than sensual, it cannot be omitted from any history of eroticism. The adjective that best fits Rabelais's subverted eroticism, which I would call 'anti-eroticism', is witty: humor and the erotic go hand in hand with him. Rabelais uses the human body, especially its lower half, to offer a satirical look at society. As a physician, this physicality comes naturally to him, as humorist he makes good use of it. |
| - | The phrase most often associated with Rabelais, is: Fay ce que vouldras. Do what you want. And he does. He wears one of his books on all syphilis sufferers. In one of his stories he wants to rebuild the city walls of Paris by a female bodies for use - which are cheaper than stones. He expatiates on bowel movements and how best to wipe your ass, talks about snot and other bodily fluids. But he makes art from what in lesser gods just pornography, dirty stories would be. His agility surprises every time, even though he is the dirtiest shed inside. The fantasy which he glues together some plot elements is as astounding as refreshing. Thus Pantagruel, Gargantua's son, born from the ear of his mother and while we read, we experience this as a natural and delicious. | + | The phrase most often associated with Rabelais, is: [[Fay ce que vouldras]]. Do what you want. And so he does. He dedicates one of his books to all sufferers of syphilis. In one of his stories he wants to rebuild the city walls of Paris by with female bodies - theye are cheaper than stones. He [[expatiate]]s on bowel movements and how best to wipe your ass, talks about snot and other bodily fluids. But he makes art from what in lesser gods just pornography, dirty stories would be. His agility surprises every time, even though he is the dirtiest shed inside. The fantasy which he glues together some plot elements is as astounding as refreshing. Thus Pantagruel, Gargantua's son, born from the ear of his mother and while we read, we experience this as a natural and delicious. |
| The first part of the cycle of novels Gargantua and Pantagruel and published under the pseudonym Magister Alcofribas Nasier, an anagram of the name of the writer. The University of Paris Sorbonne abhors the book and places it on its list of banned books, one of the first of its kind. But because the French king entertained with it, Rabelais gives the later parts just under his own name. Rabelais' to experiment is best illustrated by two coats of arms on testes: crest and coat of arms against the globe. The blazon and to blazon are a form of medieval lyricism. In the Renaissance the blazon sings the beauty of the female body or parts thereof against the blazon does the opposite to taunt them. Rabelais stretched the genre to the limits of the permitted uses and not less than 275 adjectives - often self-invented words - to the praise of the globe singing and 440 adjectives for schimplied of the globe. | The first part of the cycle of novels Gargantua and Pantagruel and published under the pseudonym Magister Alcofribas Nasier, an anagram of the name of the writer. The University of Paris Sorbonne abhors the book and places it on its list of banned books, one of the first of its kind. But because the French king entertained with it, Rabelais gives the later parts just under his own name. Rabelais' to experiment is best illustrated by two coats of arms on testes: crest and coat of arms against the globe. The blazon and to blazon are a form of medieval lyricism. In the Renaissance the blazon sings the beauty of the female body or parts thereof against the blazon does the opposite to taunt them. Rabelais stretched the genre to the limits of the permitted uses and not less than 275 adjectives - often self-invented words - to the praise of the globe singing and 440 adjectives for schimplied of the globe. | ||
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- "The arse seems to be condemned to live in the dark. Among the different parts of our body, it leads the life of a tramp. It truly is the idiot of the family. Yet it would be a miracle if this black sheep of the body did not have a ready opinion of the events taking place in higher regions, just like those who have been rejected by society often express the most sober views of it." --Peter Sloterdijk, Critique of Cynical Reason.
Although Gargantua and Pantagruel, that masterpiece of the French physician and writer Rabelais, is rather more emetic than erotic, more scatological than sensual, it cannot be omitted from any history of eroticism. The adjective that best fits Rabelais's subverted eroticism, which I would call 'anti-eroticism', is witty: humor and the erotic go hand in hand with him. Rabelais uses the human body, especially its lower half, to offer a satirical look at society. As a physician, this physicality comes naturally to him, as humorist he makes good use of it.
The phrase most often associated with Rabelais, is: Fay ce que vouldras. Do what you want. And so he does. He dedicates one of his books to all sufferers of syphilis. In one of his stories he wants to rebuild the city walls of Paris by with female bodies - theye are cheaper than stones. He expatiates on bowel movements and how best to wipe your ass, talks about snot and other bodily fluids. But he makes art from what in lesser gods just pornography, dirty stories would be. His agility surprises every time, even though he is the dirtiest shed inside. The fantasy which he glues together some plot elements is as astounding as refreshing. Thus Pantagruel, Gargantua's son, born from the ear of his mother and while we read, we experience this as a natural and delicious.
The first part of the cycle of novels Gargantua and Pantagruel and published under the pseudonym Magister Alcofribas Nasier, an anagram of the name of the writer. The University of Paris Sorbonne abhors the book and places it on its list of banned books, one of the first of its kind. But because the French king entertained with it, Rabelais gives the later parts just under his own name. Rabelais' to experiment is best illustrated by two coats of arms on testes: crest and coat of arms against the globe. The blazon and to blazon are a form of medieval lyricism. In the Renaissance the blazon sings the beauty of the female body or parts thereof against the blazon does the opposite to taunt them. Rabelais stretched the genre to the limits of the permitted uses and not less than 275 adjectives - often self-invented words - to the praise of the globe singing and 440 adjectives for schimplied of the globe.
The reader will of the original French version some time to figure out - or to figure out, if you will - that the c. in the original French edition is an abbreviation for couillon (idiot, jerk, stupid motherfuckers) or couille (curling, testicle). A recent Dutch translation makes it lulletje of.
The French original of the blazon reads:
Couillon moignon c. the Renom. c. pate. c. nate c. c buckling. laicte. c. feutre c. calfate. c. madre c. relevé. c. the stucco. c. the crotesque. c. Arabesque. c. assere. c. levresque à la Trousse. c. Antiquaire. Etc ...
A similar series in Dutch yields:
Tender motherfuckers varnished k. firm k. leaden k. renowned k., cabbage-like k. knurled nut k., matt k., courteous k. bribed k., genitive k., fertile k. desired k., giant k., whizzing k. filled k., oval k., clean k. speckled k., embedded k., ordinary k. [Own translation from English]
The French original of the escutcheon against states:
Couillon flatry c. moisy, c. rouy. c. chaumeny. c. poitry d'eaue froyde. c. pendillant. c. transy. c. appellant. c. avalle. c. cal guava. c. Fene. c. esgrene. c. esrene. c. incongru. A similar series in Dutch yields: Faded globe., Clunky k., Begging k. moldy k. k discouraged., captured k. with cold water, rubbed k., unsaturated k., pathetic k. sullen k., overworked k., hanging k. [Own translation from English]
Original text
Rabelais en het onderlichaam
Hoewel Gargantua and en Pantagruel, het meesterwerk van de Franse arts en schrijver François Rabelais vaak eerder emetisch dan erotisch, eerder scatologisch dan sensueel genoemd wordt, mag het niet ontbreken in een werk dat zich aan de erotiek wijdt. Het adjectief dat het best bij Rabelais’ anti-erotiek past is ‘geestig’: humor en het erotische gaan bij hem hand in hand. Rabelais gebruikt het menselijk lichaam, en dan vooral het menselijk onderlichaam, voor een satirische kijk op de maatschappij. Als arts gaat deze lichamelijkheid hem zeer natuurlijk af, als humorist maakt hij er dankbaar gebruik van.
De zinsnede die het vaakst met Rabelais wordt geassocieerd, is: Fay ce que vouldras. Doe wat je wil. En dat doet hij. Hij draagt een van zijn boeken op aan alle syfilislijders. In een van zijn verhalen wil hij de stadsmuren van Parijs herbouwen door er vrouwenlichamen voor te gebruiken – die zijn goedkoper dan stenen. Hij weidt uit over stoelgang en hoe optimaal je kont af te vegen, heeft het over snot en andere lichaamsvloeistoffen. Maar hij maakt kunst van wat bij mindere goden gewoon pornografie of vuile verhalen zouden zijn. Zijn lichtvoetigheid verrast keer op keer, zelfs al gaat hij de smerigste stal binnen. De fantasie waarmee hij bepaalde plotelementen aan elkaar lijmt, is even verbluffend als verfrissend. Zo wordt Pantagruel, de zoon van Gargantua, geboren uit het oor van zijn moeder en terwijl we dit lezen, ervaren we dit gegeven als vanzelfsprekend en verrukkelijk.
Het eerste deel van de romancyclus Gargantua and en Pantagruel verschijnt onder het pseudoniem Magister Alcofribas Nasier, een anagram van de naam van de schrijver. De Parijse universiteit Sorbonne verafschuwt het boek en plaatst het op haar lijst van verboden boeken, een van de eersten in zijn soort. Maar omdat de Franse koning zich ermee vermaakt, geeft Rabelais de latere delen gewoon onder zijn eigen naam uit. Rabelais’ experimenteerdrang wordt het best geïllustreerd door twee blazoenen over teelballen: blazoen en tegenblazoen van de kloot. Het blazoen en het tegenblazoen zijn een middeleeuwse vorm van lyriek. In de renaissance bezingt het blazoen de schoonheid van het vrouwelijk lichaam of delen ervan, het tegenblazoen doet het tegenovergestelde door ze te beschimpen. Rabelais rekt het genre tot aan de grenzen van het toelaatbare en gebruikt niet minder dan 275 adjectieven – vaak zelfverzonnen woorden – om de lof van de kloot te zingen en 440 adjectieven voor het schimplied van de kloot.
Het zal de lezer van de originele Franse versie enige tijd vergen om uit te vissen – of uit te vogelen, zo u wilt – dat de c. in de originele Franse uitgave de afkorting is voor couillon (idioot, eikel, stommekloot) of couille (kloot, teelbal). Een recente Nederlandstalige vertaling maakt daar lulletje van.
Het Franse origineel van het blazoen luidt:
Couillon moignon c. de renom. c. paté. c. naté c. plombé c. laicté. c. feutré c. calfaté. c. madré c. relevé. c. de stuc. c. de crotesque. c. Arabesque. c. asseré. c. troussé à la levresque. c. antiquaire. Enz…
Een gelijkaardige serie in het Nederlands levert op:
Malse kloot geverniste k. resolute k. loodkleurige k. vermaarde k., koolachtige k. kartelmoeren k., matte k., hoffelijke k. omgekochte k., genitieve k., vruchtbare k. gewenste k., gigantische k., suizende k. gevulde k., ovale k., propere k. gespikkelde k., ingesloten k., gewone k. [eigen vertaling, vanuit het Engels]
Het Franse origineel van het tegenblazoen luidt:
Couillon flatry c. moisy, c. rouy. c. chaumeny. c. poitry d'eaue froyde. c. pendillant. c. transy. c. appellant. c. avallé. c. guavasche. c. fené. c. esgrené. c. esrené. c. incongru. Een gelijkaardige serie in het Nederlands levert op: Verschoten kloot., lompe k., smekende k. beschimmelde k. ontmoedigde k., buitgemaakte k. met koud water ingewreven k., onverzadigde k., zielige k. gemelijke k., overwerkte k., hangende k. [eigen vertaling, vanuit het Engels]
