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1 600 €

Réf : 68065

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Etienne TABOUROT

Les Bigarrures, et Touches du Seigneur des Accords ; Le Quatriesme des Bigarrures du Seigneur des Accords ; Les Touches du Seigneur des Accords ; Les Escraignes Dijonnaises ; Les contes Facecieux du Sieur Gaulard

Par Jean Richer, A Paris 1608, in-12 (8x14cm), (12f.) 181ff. (1f.) ; (4f.) 50ff. ; 64ff. ; 59ff. ; 59ff., 5 parties en 2 volumes reliés.

New edition, after the first collective of 1606; The Bigarries were published in 1585, and the fourth book, separately in 1588. The printer's marks on the 5 pages of titles. A portrait of the author in Les Bigarrures , repeated in the Fourth Book , 16 medallion signs in the Bigarries, as well as musical notation and astrological symbols, as well as banners with mottos; a portrait of Sieur Gaulart in Les tales facetieux . All title sheets are dated 1608.
Binding in full glossy brown calf vintage. Back with ornate nerves. title label in red morocco. Headdress partly missing, headdress faded. Upper joint split in 55mn tail. 3 blunt corners. Rubbed together.
Writer and caustic poet, who pays complacently in the grivoiserie, the scatology and even the blasphemy, Etienne Tabourot (1549-1590) was in fact a serious jurist, his most famous work: Les variegures , is a collection of puns and of language. Contrary to what Remy de Gourmont says, describing the book as a textbook for eccentric poets, it is rather for the author to identify all the possibilities offered by the language to play with the words in a comic sense. The book is divided into 22 chapters, each dealing with a game of language: scraps of Picardy, French misunderstandings, antistrophes or contrepèteries, anagrams, epitaphs ... The Touches are a collection of poems. The Dijon escarpments are based on the avowed model of Boccaccio's Decameron , the protagonists recounting comical, dirty stories. The facetious tales are a series of anecdotes, always in the same tone of the author, at once comical, satirical, light and irreverent. Although the style is far removed, the spirit of Rabelais seems to be very close to the works of the Lord of the Accords, the characteristic of the latter being the love of the word.
 

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