Drinking and the Dive Bouteille in Antonine Maillet's play Panurge
In her play, Les drôlatiques, horrifiques et épouvantables aventures de Panurge, ami de Pantagruel d'après Rabelais, Antonine Maillet recreates beautifully the fantastic and incredible atmosphere present in the original works of Rabelais. She cuts and pastes together the most well known and exceptional selections of Rabelais' original text and creates a new story, adding along the way some finishing touches which give the play its Acadien content. One of the themes quite prevalent throughout in the original works is that of drinking and the insatiable pantagruelist thirst. Maillet preserves this distinctly rabelaisian caracteristic in her play and also uses the plot of the search for the Dive Bouteille, the Holy Bottle, the suject of Rabelais' Le Tiers Livre, Le Quart Livre, and especially Le Cinquième Livre.
In Rabelais' second novel, Gargantua, the author begins the text with a Prologue in which he clearly states that his writing is destined specifically to drinkers and free lovers, " Buveurs très illustres et vous, vérolés très précieux (c'est à vous, à personne d'autre que sont dédiés mes écrits) ". His works are for those who drink freely and greatly, for those who are thirsty. The drink, however, is not limited to the alcohol which is highly praised on the surface, but is also an elixir containing knowledge; for, in the works of Rabelais, nothing is as it seems. Rabelais challenges his readers to " rompre l'os et sucer la substantifique moelle " of his textes. One could thus conclude that his buveurs très illustres are in reality s...
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...saying that the bottle's filter is the eternel youth of an antique civilisation. She means that the Acadien people protect the bottles wine with their young and free spirit.
Throughout the rest of Maillet's play, the characters partake in spontaneous outbursts of drinking and celebration, maintaining thus the tone of cheer and joie de vivre present in all of Rabelais' original five novels.
According to Rabelais, the way to the truth of the substantive marrow of his works and the marrow of life is by a river of wine. In her play, Panurge, ami de Pantagruel, Antonine Maillet preserves this all important premise that dominates Rabelais' original works from which she draws her inspiration. This element gives the play its distinctly rabelaisian atmosphere and contributes to the general feeling of lightheartedness that is prevalent throughout the play.
So looking at this we can see that at this period in time it may have
war often, for the sake of his country, but when he did he put in a
Peace of London in 1518, the Field of the Cloth of Gold and the Calais
To illustrate, in The Great Gatsby, alcohol is a social lubricant. For instance Nick Caraway says he has only drank twice. The second time was when Tom invited him to a party at his apartment in New York City, where he has his affairs with his mistress myrtle. Nick drinks to mute out the chatter and gossiping about Gatsby and describes everyone as superficial and fake. He describes the whole afternoon as “[having] a dim, hazy cast over it” (Fitzgerald 32).Although when The Great Gatsby takes place, the Eighteenth A...
The Revolutionary Policies of Henry VIII Henry was a supreme egotist. He advanced personal desires under the guise of public policy or moral right, forced his ministers to pay extreme penalties for his own mistakes, and summarily executed many with little excuse. In his later years he became grossly fat, paranoid, and unpredictable. Nonetheless he possessed considerable political insight, and he provided England with a visible and active national leader. Although Henry seemed to dominate his Parliaments, the importance of that institution increased significantly during his reign.
While Burgundian chanson in some respects continued the traditions of the troubadours and trouvères with overriding themes of courtly love, the texts o...
Molière, Jean-Baptiste. “Tartuffe.” The Northern Anthology of World Literature. Gem. ed. Martin Puchner. 3rd ed. Vol F. New York; Northern, 2012. 144-97. Print.
"I cannot improve on it, and assuredly never shall," said Molière of his satire The Misanthrope, {1} and the critic Nicholas Boileau-Despréaux concurred by accounting it one of Molière's best plays.{2} But the French public did not like it much, preferring the dramatist's more farcical The Doctor in Spite of Himself--a play that, according to tradition, was written two months after The Misanthrope's premiere to make up for the latter's lack of success.{3} In fact, The Misanthrope horrified Rousseau, who thought that its aim was, in Donald Frame's words, "to make virtue ridiculous by pandering to the shallow and vicious tastes of the man of the world."{4} Both he and Goethe after him regarded Alceste, the protagonist, as a tragic figure rather than a comic one.{5}
A five page paper which analyses a passage from Le Diable au Corps at the beginning of the liaison between the narrator and Marthe, showing how the descrip...
Critics interpreting Chaucerian depictions of drunkenness have traditionally focused on the state as an unalloyed vice, citing variously as justification the poet’s Christian conservatism, his intimate association with the disreputable London vintner community, and even possible firsthand familiarity with alcoholism. While we must always remain vigilant to the evils of excessive inebriation, to portray Chaucer’s images of drink and revelry in The Canterbury Tales as an unqualified denunciation is to oversimplify the poet’s work and to profane his art. By fusing his portrayals of drunkenness with the revelation of truth and philosophical insight, Chaucer demonstrates the capacity of wine and ale to evoke the funky earthiness of humanity that we so desperately seek to avoid and that is so fundamental to our corporeal experience.
Jean-Baptiste Poquelin Moliere wrote Tartuffe during the beginning of the Age of Enlightenment. One of the main characteristics of the Age of Enlightenment was a push towards using reason over emotions to make decisions. The leaders of the enlightenment truly believed that the world could be made a better place if people did this. In Tartuffe, when the characters use their emotions to make their decisions they find themselves in undesirable situations. While those who let their emotions rule them find their lives spinning out of control, there are other characters in the play who try to approach them with reason and logic. Out of these characters the lady’s maid Dorine stands out as the voice of reason.
...epth perception, and clear lines make Sebastians Still Life with Glasses seem real. Brushstrokes, unclear lines on the table, and distance not visible to the viewer but symbolic, make Jeans’ Still Life with Kitchen Utensils more of a work of art, than a depiction of what is real.Jean portrays a table in a house of a commoner and Sebastian, a table in the house of the wealthy. The viewer of both of these paintings, is himself of nobility. On the one hand he sees this lush kitchen table of Sebastians’ and relishes in his own wealth, but on the other, he seems separated from the poverty of Jeans table. The wealthy man has the grapes, but not the onions, not the wisdom of the poor that leads them to seek virtuous things rather than material objects.He is inevitably separated from both the pain of poverty, and the wisdom of the righteous not self seeking but humble man.
The author uses detailed imagery to support the theme. For example when the author states, “sometimes the woman borrowed my grandmother's face” (Pastan, 9-11), the student as a child, is relating to someone they know and not relating to themselves. This shows their lack of understanding and maturity. The character shows that age contributes in the understanding of the question. Another example says, “...old woman, or nearly so, myself...I know now that woman and painting and season are almost one, and all beyond saving by children” (18-24). ). Evidently, the quote is stating that onc...
In his book Gargantua and Pantagruel, Francois Rabelais uses satire to address the dislocation felt by Renaissance Humanists. By providing an exaggerated fable, comical in nature, Rabelais poses a serious introspection into the extremes of both the Medieval and the Renaissance man. More importantly, however, he brings into question his own ideals of Humanism. Through an analysis of Rabelais’ satirical technique and by examining his social parody of the Medieval and the Renaissance man, we are able to better understand Rabelais’ introspection into the ideals of his own generation and to accept his argument that learning is transitory and often a necessary, yet futile, attempt to understand our world.
...seen were Moliere applied Commedia and were made to fit in the French form in the The Imaginary Invalid. The French had a tight hold upon theater in the 16th and 17th centuries. It was seen as political propaganda and anything that was put on the stage was heavily criticized. Moliere, being a prominent playwright, had to endure these criticisms. Moliere was greatly influenced by this form of theater, and it can be seen where he used it and where he applied Neo Classicism, the other popular art form. By looking at his three most famous plays, Tartuffe, The Misanthrope, and The Imaginary Invalid, through Commedia Dell’ Arte, with the characters, plot line, the authorship or structure, it can be seen where Moliere had his influence and when it was applied. “The tradition in playing Moliere is preserved in France by the Comedie Francaise” (Bertram-Cox,am-cox, 301).