Étienne 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
Chez David Geuffroy|à Rouen 1621|8 x 14 cm|5 parties en 2 volumes reliés
New edition, after the first collected edition of 1606; the Bigarrures appeared in 1585, and the fourth book separately in 1588. Printer's marks on the 5 title pages. A portrait of the author in Les Bigarrures, repeated in the Quatrième livre, 16 medallion devices in the Bigarrures, as well as musical notations and astrological symbols, as well as banderoles with mottoes; a portrait of sieur Gaulart in Les contes facetieux. The title leaf of Escraignes dijonnaises is dated 1616; Le quatriesme livre 1620; Les contes facetieux 1620
Pastiche bindings ca 1840 in full marbled blonde calf. Smooth spines decorated with 4 fleurons and series of fillets, date at tail. Red morocco title labels, and black morocco volume labels. Triple ruled frame on covers with corner fleurons. Fillet on leading edges and interior border. Light rubbing. Leaves 40 to 48 of Contes facetieux with a lack in outer margin not touching text. Handsome copy.
Leaves 5 to 26 systematically inverted: 6 before 5, 7 before 6... but without lack; likewise leaves 26 to 32 of Les touches du seigneur des accords. Gathering D is missing from Les touches, being leaves 36 to 48. Numerous pagination errors.
A caustic writer and poet, who indulged complacently in ribaldry, scatology and even blasphemy, Etienne Tabourot (1549-1590) was in fact a serious jurist, his most famous work: Les bigarrures, is a collection of word games and language play. Contrary to what Remy de Gourmont says, who describes the work as a manual for the use of eccentric poets, it is rather for the author to catalog all the possibilities that language offers for playing with words in a comic sense. The book is thus divided into 22 chapters, each dealing with a language game: rebus from Picardy, French equivoques, antistrophes or spoonerisms, anagrams, epitaphs... Les Touches are a collection of poetry. Les escraignes dijonnaises are based on the acknowledged model of Boccaccio's Decameron, the protagonists telling comic, ribald stories. The facetious tales are a series of anecdotes, always in the same tone proper to the author, at once comic, satirical, light and irreverent. Although the style is quite distant, the spirit of Rabelais seems very close to the works of the seigneur des Accords, the characteristic of the latter being the love of the bon mot.
Pastiche bindings ca 1840 in full marbled blonde calf. Smooth spines decorated with 4 fleurons and series of fillets, date at tail. Red morocco title labels, and black morocco volume labels. Triple ruled frame on covers with corner fleurons. Fillet on leading edges and interior border. Light rubbing. Leaves 40 to 48 of Contes facetieux with a lack in outer margin not touching text. Handsome copy.
Leaves 5 to 26 systematically inverted: 6 before 5, 7 before 6... but without lack; likewise leaves 26 to 32 of Les touches du seigneur des accords. Gathering D is missing from Les touches, being leaves 36 to 48. Numerous pagination errors.
A caustic writer and poet, who indulged complacently in ribaldry, scatology and even blasphemy, Etienne Tabourot (1549-1590) was in fact a serious jurist, his most famous work: Les bigarrures, is a collection of word games and language play. Contrary to what Remy de Gourmont says, who describes the work as a manual for the use of eccentric poets, it is rather for the author to catalog all the possibilities that language offers for playing with words in a comic sense. The book is thus divided into 22 chapters, each dealing with a language game: rebus from Picardy, French equivoques, antistrophes or spoonerisms, anagrams, epitaphs... Les Touches are a collection of poetry. Les escraignes dijonnaises are based on the acknowledged model of Boccaccio's Decameron, the protagonists telling comic, ribald stories. The facetious tales are a series of anecdotes, always in the same tone proper to the author, at once comic, satirical, light and irreverent. Although the style is quite distant, the spirit of Rabelais seems very close to the works of the seigneur des Accords, the characteristic of the latter being the love of the bon mot.
€1,100