§ 1. To great geniuses it is given to think themselves in a measure free from the ordinary notions of their time and often to anticipate the discoveries of a future age. In all literature there is perhaps hardly a more striking instance of this “detached” thinking than we find in Rabelais’ account of the education of Gargantua. § 2. We see in Rabelais an enthusiasm for learning and a tendency to verbal realism; that is, he turned to the old writers for instruction about things. So far he was a child of the Renascence. But in other respects he advanced far beyond it.
§ 3. After a scornful account of the ordinary school books and methods by which Gargantua “though he studied hard, did nevertheless profit nothing, but only grew thereby foolish, simple, dolted, and blockish,” Rabelais decides that “it were better for him to learn nothing at all than to be taught suchlike books under suchlike schoolmasters.” All this old lumber must be swept away, and in two years a youth may acquire a better judgment, a better[64] manner, and more command of language than could ever have been obtained by the old method.
We are then introduced to the model pupil. The end of education has been declared to be sapiens et eloquens pietas; and we find that though Rabelais might have substituted knowledge for piety, he did care for piety, and valued very highly both wisdom and eloquence. The eloquent Roman was the ideal of the Renascence, and Rabelais’ model pupil expresses himself “with gestures so proper, pronunciation so distinct, a voice so eloquent, language so well turned and in such good Latin that he seemed rather a Gracchus, a Cicero, an ?milius of the time past than a youth of the present age.”
§ 4. So a Renascence tutor is appointed for Gargantua and administers to him a potion that makes him forget all he has ever learned. He then puts him through a very different course. Like all wise instructors he first endeavours to secure the will of the pupil. He allows Gargantua to go the accustomed road till he can convince him it is the wrong one. This seems to me a remarkable proof of wisdom. How often does the “new master” break abruptly with the past, and raise the opposition of the pupil by dispraise of all he has already done! By degrees Ponocrates, the model tutor, inspired in his pupil a great desire for improvement. This he did by bringing him into the society of learned men, who filled him with ambition to be like them. Thereupon Gargantua “put himself into such a train of study that he lost not any hour in the day, but employed all his time in learning and honest knowledge.” The day was to begin at 4 a.m., with reading of “some chapter of the Holy Scripture, and oftentimes he gave himself to revere, adore, pray, and send up his supplications[65] to that good God, whose word did show His majesty and marvellous judgments.” This is the only hint we get in this part of the book on the subject of religious or moral education: the training is directed to the intellect and the body.
§ 5. The remarkable feature in Rabelais’ curriculum is this, that it is concerned mainly with things. Of the Seven Liberal Arts of the Middle Ages, the first three were purely formal: grammar, logic, rhetoric; while the following course: arithmetic, geometry, astronomy, and music, were not. The effect of the Renascence was to cause increasing neglect of the Quadrivium, but Rabelais cares for the Quadrivium only; Gargantua studies arithmetic, geometry, astronomy, and music, and the Trivium is not mentioned. Great use is made of books and Gargantua learned them by heart; but all that he learned he at once “applied to practical cases concerning the estate of man.” It was the substance of the reading, not the form, that was thought of. At dinner “if they thought good they continued reading or began to discourse merrily together; speaking first of the virtue, propriety, efficacy, and nature of all that was served in at that table; of bread, of wine, of water, of salt, of flesh, fish, fruits, herbs, roots, and of their dressing. By means whereof he learned in a little time all the passages that on these subjects are to be found in Pliny, Athen?us, &c. Whilst they talked of these things, many times to be more certain they caused the very books to be brought to the table; and so well and perfectly did he in his memory retain the things above said, that in that time there was not a physician that knew half so much as he did.” Again, out of doors he was to observe trees and plants, and “compare them with what is written of them in the books of the ancients, such as Theophrastus,[66] Dioscorides, &c.” Here again, actual realism was to be joined with verbal realism, for Gargantua was to carry home with him great handfuls for herborising. Rabelais even recommends studying the face of the heavens at night, and then observing the change that has taken place at 4 in the morning. So he seems to have been the first writer on education (and the first by a long interval), who would teach about things by observing the things themselves. It was this Anschauungs-prinzip—use of sense-impressions—that Pestalozzi extended and claimed as his invention two centuries and a half later. Rabelais also gives a hint of the use of hand-work as well as head-work. Gargantua and his fellows “did recreate themselves in bottling hay, in cleaving and sawing wood, and in threshing sheaves of corn in the barn. They also studied the art of painting or carving.” The course was further connected with life by visits to the various handicraftsmen, in whose workshops “they did learn and consider the industry and invention of the trader.”
Thus, even in the time of the Renascence, Rabelais saw that the life of the intellect might be nourished by many things besides books. But books were still kept in the highest place. Even on a holiday, which occurred on some fine and clear day once a month, “though spent wit............