The role and importance of the Devil in the works of Francois Rabelais

Abstract

The purpose of this study is to investigate the part played in Rabelais' authenticated works by the character and actions of the Devil, and to examine the multiplicity of names used to signify the Devil. The occult and divinatory arts, found notably in the Tiers Livre, are discussed and their legitimacy in the eyes of civil and religious authority is considered. Rabelais' treatment of the Church, and manifestations of the Devil drawn from and present in it are examined, as are the author's borrowings from classical and learned writings relevant to the subject.These facets of Rabelais' work are important, but the popular elements which they contain, drawn from Medieval and Renaissance theatre, folk legend and language, contribute much to the understanding of both the author himself and his writings. These elements are not restricted to the early episodes: they pervade the works through anecdotes and minor references. Rabelais' familiarity with (and readiness to draw upon) the mysteres, diableries and legends popular in the late Middle Ages, betray an influence and a depth of technical knowledge of these genres even greater than most critics have claimed hitherto. The links between Rabelais' treatment of the Devil and what may be inferred of his own religious opinion are explored. Some conclusions can be drawn, but the views of the reforming churches had not yet taken firm doctrinal shape, and many of the author's beliefs remain circumspectly hidden behind his creations. A Rabelais having much in common with the characters he depicts emerges from the survey. Intolerant of hypocrisy and ignorance, he nevertheless shared many contemporary fears and superstitions. Like Luther, Calvin and the Catholic clergy he frequently satirises, Rabelais ascribes the darker aspects of life to the Devil and his works, countering them with his characteristic mixture of evangelism, erudition and Pantagruelism.