GARGANTUAANDHISSONPANTAGRUEL

TranslatedintoEnglishbySirThomasUrquhartofCromartyandPeterAntonyMotteuxThetextofthefirstTwoBooksofRabelaishasbeenreprintedfromthefirstedition(1653)ofUrquhart'stranslation。Footnotesinitialled'M。'

aredrawnfromtheMaitlandClubedition(1838)；otherfootnotesarebythetranslator。Urquhart'stranslationofBookIII。appearedposthumouslyin1693，withaneweditionofBooksI。andII。，underMotteux'seditorship。

Motteux'srenderingofBooksIV。andV。followedin1708。Occasionally(asthefootnotesindicate)passagesomittedbyMotteuxhavebeenrestoredfromthe1738copyeditedbyOzell。

Introduction。

HadRabelaisneverwrittenhisstrangeandmarvellousromance，noonewouldeverhaveimaginedthepossibilityofitsproduction。Itstandsoutsideotherthings——amixtureofmadmirthandgravity，offollyandreason，ofchildishnessandgrandeur，ofthecommonplaceandtheout-of-the-way，ofpopularverveandpolishedhumanism，ofmother-witandlearning，ofbasenessandnobility，ofpersonalitiesandbroadgeneralization，ofthecomicandtheserious，oftheimpossibleandthefamiliar。Throughoutthewholethereissuchaforceoflifeandthought，suchapowerofgoodsense，akindofassurancesoauthoritative，thathetakesrankwiththegreatest；andhispeersarenotmany。Youmaylikehimornot，mayattackhimorsinghispraises，butyoucannotignorehim。Heisofthosethatdiehard。Beasfastidiousasyouwill；makeupyourmindtorecognizeonlythosewhoare，withoutanymannerofdoubt，beyondandaboveallothers；howeverfewthenamesyoukeep，Rabelais'willalwaysremain。

Wemayknowhiswork，mayknowitwell，andadmireitmoreeverytimewereadit。Afterbeingamusedbyit，afterhavingenjoyedit，wemayreturnagaintostudyitandtoentermorefullyintoitsmeaning。Yetthereisnopossibilityofknowinghisownlifeinthesamefashion。Inspiteofalltheefforts，oftensuccessful，thathavebeenmadetothrowlightonit，tobringforwardafreshdocument，orsomeobscurementioninaforgottenbook，toaddsomelittlefact，tofixadatemoreprecisely，itremainsneverthelessfullofuncertaintyandofgaps。Besides，ithasbeenburdenedandsulliedbyallkindsofwearisomestoriesandfoolishanecdotes，sothatreallythereismoretoweedoutthantoadd。

Thisinjustice，atfirstwilful，haditsriseinthesixteenthcentury，inthefuriousattacksofamonkofFontevrault，GabrieldePuy-Herbault，whoseemstohavedrawnhisconclusionsconcerningtheauthorfromthebook，and，moreespecially，intheregrettablesatiricalepitaphofRonsard，piqued，itissaid，thattheGuiseshadgivenhimonlyalittlepavillonintheForestofMeudon，whereasthepresbyterywasclosetothechateau。

FromthattimelegendhasfastenedonRabelais，hascompletelytravestiedhim，till，bitbybit，ithasmadeofhimabuffoon，averitableclown，avagrant，aglutton，andadrunkard。

Thelikenessofhispersonhasundergoneasimilarmetamorphosis。Hehasbeencreditedwithafullmoonofaface，therubicundnoseofanincorrigibletoper，andthickcoarselipsalwaysapartbecausealwayslaughing。Thepicturewouldhavesurprisedhisfriendsnolessthanhimself。TherehavebeenportraitspaintedofRabelais；Ihaveseenmanysuch。Theyarealloftheseventeenthcentury，andthegreaternumberareconceivedinthisjovialandpopularstyle。

Asamatteroffactthereisonlyoneportraitofhimthatcounts，thathasmorethanthemerestchanceofbeingauthentic，theoneintheChronologiecolleeorcoupee。Underthisdoublenameisknownandcitedalargesheetdividedbylinesandcrosslinesintolittlesquares，containingaboutahundredheadsofillustriousFrenchmen。Thissheetwasstuckonpasteboardforhangingonthewall，andwascutinlittlepieces，sothattheportraitsmightbesoldseparately。Themajorityoftheportraitsareofknownpersonsandcanthereforebeverified。Nowitcanbeseenthatthesehavebeenselectedwithcare，andtakenfromthemostauthenticsources；

fromstatues，busts，medals，evenstainedglass，forthepersonsofmostdistinction，fromearlierengravingsfortheothers。Moreover，thoseofwhichnoothercopiesexist，andwhicharethereforethemostvaluable，haveeachanindividualityverydistinct，inthefeatures，thehair，thebeard，aswellasinthecostume。Notoneofthemislikeanother。Therehasbeennotamperingwiththem，noforgery。Onthecontrary，thereisineachadifference，averymarkedpersonality。LeonardGaultier，whopublishedthisengravingtowardstheendofthesixteenthcentury，reproducedagreatmanyportraitsbesidesfromchalkdrawings，inthestyleofhismaster，ThomasdeLeu。Itmusthavebeensuchdrawingsthatweretheoriginalsofthoseportraitswhichhealonehasissued，andwhichmaythereforebeasauthenticandreliableastheotherswhosecorrectnessweareinapositiontoverify。

NowRabelaishasherenothingoftheRogerBontempsoflowdegreeabouthim。Hisfeaturesarestrong，vigorouslycut，andfurrowedwithdeepwrinkles；hisbeardisshortandscanty；hischeeksarethinandalreadyworn-looking。Onhisheadhewearsthesquarecapofthedoctorsandtheclerks，andhisdominantexpression，somewhatrigidandsevere，isthatofaphysicianandascholar。Andthisistheonlyportraittowhichweneedattachanyimportance。

Thisisnottheplaceforadetailedbiography，norforanexhaustivestudy。Atmostthisintroductionwillserveasaframeworkonwhichtofixafewcertaindates，tohangsomegeneralobservations。ThedateofRabelais'birthisverydoubtful。Forlongitwasplacedasfarbackas1483:nowscholarsaredisposedtoputitforwardtoabout1495。Thereason，agoodone，isthatallthosewhomhehasmentionedashisfriends，orinanyrealsensehiscontemporaries，werebornattheveryendofthefifteenthcentury。And，indeed，itisinthereferencesinhisromancetonames，persons，andplaces，thatthemostcertainandvaluableevidenceistobefoundofhisintercourse，hispatrons，hisfriendships，hissojournings，andhistravels:hisownworkisthebestandrichestmineinwhichtosearchforthedetailsofhislife。

LikeDescartesandBalzac，hewasanativeofTouraine，andToursandChinonhaveonlydonetheirdutyineachofthemerectinginrecentyearsastatuetohishonour，atwofoldhomagereflectingcreditbothontheprovinceandonthetown。Buttheprecisefactsabouthisbirthareneverthelessvague。HuetspeaksofthevillageofBenais，nearBourgeuil，ofwhosevineyardsRabelaismakesmention。AsthelittlevineyardofLaDeviniere，nearChinon，andfamiliartoallhisreaders，issupposedtohavebelongedtohisfather，ThomasRabelais，somewouldhavehimbornthere。ItisbettertoholdtotheearliergeneralopinionthatChinonwashisnativetown；Chinon，whosepraiseshesangwithsuchheartinessandaffection。TherehemightwellhavebeenbornintheLamproiehouse，whichbelongedtohisfather，who，tojudgefromthiscircumstance，musthavebeenineasycircumstances，withthepositionofawell-to-docitizen。AsLaLamproieintheseventeenthcenturywasahostelry，thefatherofRabelaishasbeensetdownasaninnkeeper。Moreprobablyhewasanapothecary，whichwouldfitinwiththemedicalprofessionadoptedbyhissoninafteryears。Rabelaishadbrothers，allolderthanhimself。

Perhapsbecausehewastheyoungest，hisfatherdestinedhimfortheChurch。

ThetimehespentwhileachildwiththeBenedictinemonksatSeuilleisuncertain。TherehemighthavemadetheacquaintanceoftheprototypeofhisFriarJohn，abrotherofthenameofBuinart，afterwardsPriorofSermaize。HewaslongerattheAbbeyoftheCordeliersatLaBaumette，halfamilefromAngers，wherehebecameanovice。AsthebrothersDuBellay，whowerelaterhisMaecenases，werethenstudyingattheUniversityofAngers，whereitiscertainhewasnotastudent，itisdoubtlessfromthisyouthfulperiodthathisacquaintanceandalliancewiththemshoulddate。Voluntarily，orinducedbyhisfamily，Rabelaisnowembracedtheecclesiasticalprofession，andenteredthemonasteryoftheFranciscanCordeliersatFontenay-le-Comte，inLowerPoitou，whichwashonouredbyhislongsojournatthevitalperiodofhislifewhenhispowerswereripening。

Thereitwashebegantostudyandtothink，andtherealsobeganhistroubles。

Inspiteofthewide-spreadignoranceamongthemonksofthatage，theencyclopaedicmovementoftheRenaissancewasattractingalltheloftyminds。Rabelaisthrewhimselfintoitwithenthusiasm，andLatinantiquitywasnotenoughforhim。Greek，astudydiscountenancedbytheChurch，whichlookedonitasdangerousandtendingtofreethoughtandheresy，tookpossessionofhim。ToitheowedthewarmfriendshipofPierreAmyandofthecelebratedGuillaumeBude。Infact，theGreeklettersofthelatterarethebestsourceofinformationconcerningthisperiodofRabelais'

life。ItwasatFontenay-le-ComtealsothathebecameacquaintedwiththeBrissonsandthegreatjuristAndreTiraqueau，whomhenevermentionsbutwithadmirationanddeepaffection。Tiraqueau'streatise，Delegibusconnubialibus，publishedforthefirsttimein1513，hasanimportantbearingonthelifeofRabelais。Therewelearnthat，dissatisfiedwiththeincompletetranslationofHerodotusbyLaurentValla，RabelaishadretranslatedintoLatinthefirstbookoftheHistory。Thattranslationunfortunatelyislost，assomanyotherofhisscatteredworks。Itisprobablyinthisdirectionthatthehazardoffortunehasmostdiscoveriesandsurprisesinstorefortheluckysearcher。Moreover，asinthislawtreatiseTiraqueauattackedwomeninamercilessfashion，PresidentAmauryBouchardpublishedin1522abodyintheirdefence，andRabelais，whowasafriendofboththeantagonists，tookthesideofTiraqueau。Itshouldbeobservedalsoinpassing，thatthereareseveralpagesofsuchaudaciousplain-speaking，thatRabelais，thoughhedidnotcopytheseinhisMarriageofPanurge，hastherebeen，inhisownfashion，asoutspokenasTiraqueau。

Ifsuchfreedomoflanguagecouldbepermittedinagravetreatiseoflaw，similarlibertieswerecertainly，inthesamecentury，morenaturalinabookwhichwasmeanttoamuse。

ThegreatreproachalwaysbroughtagainstRabelaisisnotthewantofreserveofhislanguagemerely，buthisoccasionalstudiedcoarseness，whichisenoughtospoilhiswholework，andwhichlowersitsvalue。LaBruyere，inthechapterDesouvragesdel'esprit，notinthefirsteditionoftheCaracteres，butinthefifth，thatistosayin1690，attheendofthegreatcentury，givesusonthissubjecthisownopinionandthatofhisage:

'MarotandRabelaisareinexcusableintheirhabitofscatteringfilthabouttheirwritings。Bothofthemhadgeniusenoughandwitenoughtodowithoutanysuchexpedient，evenfortheamusementofthosepersonswholookmoretothelaughtobegotoutofabookthantowhatisadmirableinit。Rabelaisespeciallyisincomprehensible。Hisbookisanenigma，——onemaysayinexplicable。ItisaChimera；itislikethefaceofalovelywomanwiththefeetandthetailofareptile，orofsomecreaturestillmoreloathsome。Itisamonstrousconfusionoffineandraremoralitywithfilthycorruption。Whereitisbad，itgoesbeyondtheworst；itisthedelightofthebasestofmen。Whereitisgood，itreachestheexquisite，theverybest；itministerstothemostdelicatetastes。'

Puttingasidetheratherslightconnectionestablishedbetweentwomenofwhomoneisofverylittleimportancecomparedwiththeother，thisisotherwiseveryadmirablysaid，andthejudgmentisaveryjustone，exceptwithregardtoonepoint——themisunderstandingoftheatmosphereinwhichthebookwascreated，andtheignoringoftheexamplesofasimilartendencyfurnishedbyliteratureaswellasbythepopulartaste。WasitnottheAncientsthatbeganit？Aristophanes，Catullus，Petronius，Martial，flewinthefaceofdecencyintheirideasaswellasinthewordstheyused，andtheydraggedaftertheminthisdirectionnotafewoftheLatinpoetsoftheRenaissance，whobelievedthemselvesboundtoimitatethem。IsItalywithoutfaultinthisrespect？Herstory-tellersinproselieopentoeasyaccusation。HerCapitoliinversegotoincrediblelengths；andtheastonishingsuccessofAretinomustnotbeforgotten，northelicenceofthewholeItaliancomictheatreofthesixteenthcentury。

TheCalandraofBibbiena，whowasafterwardsaCardinal，andtheMandragolaofMachiavelli，areevidenceenough，andthesewereplayedbeforePopes，whowerenotawhitembarrassed。EveninEnglandthedramawentveryfarforatime，andthecomicauthorsofthereignofCharlesII。，evidentlyfromareaction，andtoshakeofftheexcessandthewearisomenessofPuritanpruderyandaffectation，whichsentthemtotheoppositeextreme，arenotexactlynotedfortheirreserve。ButweneednotgobeyondFrance。

Slightindications，veryeasilyverified，areallthatmaybesetdownhere；aformalanddetailedproofwouldbealtogethertoodangerous。

Thus，forinstance，theoldFabliaux——theFarcesofthefifteenthcentury，thestory-tellersofthesixteenth——revealoneofthesides，oneoftheveins，sotospeak，ofourliterature。Theartthataddressesitselftotheeyehadlikewiseitsshareofthiscoarseness。Thinkofthesculpturesonthecapitalsandthemodillionsofchurches，andthecrudefranknessofcertainpaintedwindowsofthefifteenthcentury。QueenAnnewas，withoutanydoubt，oneofthemostvirtuouswomenintheworld。YetsheusedtogoupthestaircaseofherchateauatBlois，andhereyeswerenotoffendedatseeingatthefootofabracketanotverydecentcarvingofamonkandanun。NeitherdidshetearoutofherbookofHoursthelargeminiatureofthewintermonth，inwhich，carelessofherneighbours'eyes，themistressofthehouse，sittingbeforehergreatfireplace，warmsherselfinafashionwhichitisnotadvisablethatdamesofourageshouldimitate。

ThestatueofCybelebytheTribolo，executedforFrancisI。，andplaced，notagainstawall，butinthemiddleofQueenClaude'schamberatFontainebleau，hasbehinditanattributewhichwouldhavebeenmoreinplaceonastatueofPriapus，andwhichwasthesymbolofgenerativeness。

Thetoneoftheconversationswasordinarilyofasurprisingcoarseness，andthePrecieuses，inspiteoftheirabsurdities，didaverygoodworkinsettingthemselvesinoppositiontoit。TheworthyChevalierdeLa-Tour-

Landry，inhisInstructionstohisowndaughters，withoutathoughtofharm，givesexampleswhicharesingularindeed，andinCaxton'stranslationthesearenotomitted。TheAdevineauxAmoureux，printedatBrugesbyColardMansion，areastonishingindeedwhenoneconsidersthattheywerethelittlesocietydiversionsoftheDuchessesofBurgundyandofthegreatladiesofacourtmoreluxuriousandmorerefinedthantheFrenchcourt，whichrevelledintheCentNouvellesofgoodKingLouisXI。Rabelais'

pleasantryaboutthewomanfollealamesseisexactlyinthestyleoftheAdevineaux。

Alaterworkthananyofhis，theNovelleofBandello，shouldbekeptinmind——forthewriterwasBishopofAgen，andhisworkwastranslatedintoFrench——asalsotheDamesGalantesofBrantome。ReadtheJournalofHeroard，thathonestdoctor，whodaybydaywrotedownthedetailsconcerningthehealthofLouisXIII。fromhisbirth，andyouwillunderstandthetoneoftheconversationofHenryIV。Thejokesatacountryweddingaretriflescomparedwiththisroyalcoarseness。LeMoyendeParvenirisnothingbutatissueandamassoffilth，andthetoocelebratedCabinetSatyriqueproveswhat，underLouisXIII。，couldbewritten，printed，andread。ThecollectionofsongsformedbyClairambaultshowsthattheseventeenthandeighteenthcenturieswerenopurerthanthesixteenth。SomeofthemostribaldsongsareactuallytheworkofPrincessesoftheroyalHouse。

Itis，therefore，altogetherunjusttomakeRabelaisthescapegoat，tochargehimalonewiththesinsofeverybodyelse。Hespokeasthoseofhistimeusedtospeak；whenamusingthemheusedtheirlanguagetomakehimselfunderstood，andtoslipinhisasides，whichwithoutthissaucewouldneverhavebeenaccepted，wouldhavefoundneithereyesnorears。

Letusblamenothim，therefore，butthemannersofhistime。

Besides，hisgaiety，howevercoarseitmyappeartous——andhowrareathingisgaiety！——has，afterall，nothingunwholesomeaboutit；andthisistoooftenoverlooked。Wheredoeshetemptonetostrayfromduty？Where，evenindirectly，doeshegiveperniciousadvice？Whomhasheledtoevilways？Doesheeverinspirefeelingsthatbreedmisconductandvice，orisheevertheapologistofthese？Manypoetsandromancewriters，undercoverofafastidiousstyle，withoutonecoarseexpression，havebeenreallyandactivelyhurtful；andofthatitisimpossibletoaccuseRabelais。Womeninparticularquicklyrevoltfromhim，andturnawayrepulsedatoncebythearchaicformofthelanguageandbytheoutspokennessofthewords。Butifhebereadaloudtothem，omittingtherougherpartsandmodernizingthepronunciation，itwillbeseenthattheytooareimpressedbyhislivelywitasbytheloftinessofhisthought。Itwouldbepossible，too，toextract，foryoungpersons，withoutmodification，admirablepassagesofincomparableforce。Butthosewhohavebroughtoutexpurgatededitionsofhim，orwhohavethoughttoimprovehimbytryingtorewritehiminmodernFrench，havebeenfoolsfortheirpains，andtheirinsultingattemptshavehad，andalwayswillhave，thesuccesstheydeserve。

Hisdedicationsprovetowhatextenthiswholeworkwasaccepted。NottospeakofhisepistolaryrelationswithBude，withtheCardinald'ArmagnacandwithPellissier，theambassadorofFrancisI。andBishopofMaguelonne，orofhisdedicationtoTiraqueauofhisLyonseditionoftheEpistolaeMedicinalesofGiovanniManardiofFerrara，oftheoneaddressedtothePresidentAmauryBouchardofthetwolegaltextswhichhebelievedantique，thereisstilltheevidenceofhisotherandmoreimportantdedications。

In1532hededicatedhisHippocratesandhisGalentoGeoffroyd'Estissac，BishopofMaillezais，towhomin1535and1536headdressedfromRomethethreenewsletters，whichalonehavebeenpreserved；andin1534hededicatedfromLyonshiseditionoftheLatinbookofMarlianionthetopographyofRometoJeanduBellay(atthattimeBishopofParis)whowasraisedtotheCardinalatein1535。BesidethesededicationswemustsettheprivilegeofFrancisI。ofSeptember，1545，andthenewprivilegegrantedbyHenryII。onAugust6th，1550，CardinaldeChatillonpresent，forthethirdbook，whichwasdedicated，inaneight-linedstanza，totheSpiritoftheQueenofNavarre。Theseprivileges，fromthepraisesandeulogiestheyexpressintermsverypersonalandveryexceptional，areasimportantinRabelais'lifeaswere，inconnectionwithothermatters，theApostolicPastoralsinhisfavour。Ofcourse，inthesethepopeshadnottointroducehisbooksofdiversions，which，nevertheless，wouldhaveseemedintheireyesbutveryvenialsins。TheSciomachieof1549，anaccountofthefestivitiesarrangedatRomebyCardinalduBellayinhonourofthebirthofthesecondsonofHenryII。，wasaddressedtoCardinaldeGuise，andin1552thefourthbookwasdedicated，inanewprologue，toCardinaldeChatillon，thebrotherofAdmiraldeColigny。

Thesearenounknownorinsignificantpersonages，butthegreatestlordsandprincesoftheChurch。TheylovedandadmiredandprotectedRabelais，andputnorestrictionsinhisway。Whyshouldwebemorefastidiousandseverethantheywere？Theirhighcontemporaryappreciationgivesmuchfoodforthought。

TherearefewtranslationsofRabelaisinforeigntongues；andcertainlythetaskisnolightone，anddemandsmorethanafamiliaritywithordinaryFrench。ItwouldhavebeeneasierinItalythananywhereelse。Italian，fromitsflexibilityanditsanalogytoFrench，wouldhavelentitselfadmirablytothepurpose；theinstrumentwasready，butthehandwasnotforthcoming。NeitheristhereanySpanishtranslation，afactwhichcanbemoreeasilyunderstood。TheInquisitionwouldhavebeenafarmoreseriousopponentthantheParis'Sorbonne，andnooneventuredontheexperiment。

YetRabelaisforcescomparisonwithCervantes，whoseprecursorhewasinreality，thoughthetwobooksandthetwomindsareverydifferent。Theyhaveonlyonepointincommon，theirattackandridiculeoftheromancesofchivalryandofthewildlyimprobableadventuresofknight-errants。ButinDonQuixotethereisnotasingledetailwhichwouldsuggestthatCervantesknewRabelais'bookorowedanythingtoitwhatsoever，eventhestarting-

pointofhissubject。Perhapsitwasbetterheshouldnothavebeeninfluencedbyhim，inhoweverslightadegree；hisoriginalityisthemoreintactandthemoregenial。

Ontheotherhand，RabelaishasbeenseveraltimestranslatedintoGerman。

InthepresentcenturyRegispublishedatLeipsic，from1831to1841，withcopiousnotes，acloseandfaithfultranslation。Thefirstonecannotbesodescribed，thatofJohannFischart，anativeofMainzorStrasburg，whodiedin1614。HewasaProtestantcontroversialist，andasatiristoffantasticandabundantimagination。In1575appearedhistranslationofRabelais'firstbook，andin1590hepublishedthecomiccatalogueofthelibraryofSaintVictor，borrowedfromthesecondbook。Itisnotatranslation，butarecastintheboldeststyle，fullofalterationsandofexaggerations，bothasregardsthecoarseexpressionswhichhetookuponhimselftodevelopandtoaddto，andintheattacksontheRomanCatholicChurch。AccordingtoJeanPaulRichter，FischartismuchsuperiortoRabelaisinstyleandinthefruitfulnessofhisideas，andhisequalineruditionandintheinventionofnewexpressionsafterthemannerofAristophanes。Heissurethathisworkwassuccessful，becauseitwasoftenreprintedduringhislifetime；butthisenthusiasmofJeanPaulwouldhardlycarryconvictioninFrance。Whotreadsinanother'sfootprintsmustfollowintherear。Insteadofacreator，heisbutanimitator。Thosewhotaketheideasofotherstomodifythem，andmakeofthemcreationsoftheirown，likeShakespeareinEngland，MoliereandLaFontaineinFrance，maybesuperiortothosewhohaveservedthemwithsuggestions；butthenthenewworksmustbealtogetherdifferent，mustexistbythemselves。

Shakespeareandtheothers，whentheyimitated，maybesaidalwaystohavedestroyedtheirmodels。Thesecopyists，ifwecallthemso，createdsuchworksofgeniusthattheonlypityistheyaresorare。ThisisnotthecasewithFischart，butitwouldbenonethelesscuriousweresomeonethoroughlyfamiliarwithGermantotranslateFischartforus，oratleast，bylongextractsfromhim，giveanideaofthevagariesofGermantastewhenitthoughtitcoulddobetterthanRabelais。Itisdangeroustotamperwithsogreatawork，andhewhodoessorunsagreatriskofburninghisfingers。

Englandhasbeenlessdaring，andhermodestyanddiscretionhavebroughthersuccess。But，beforespeakingofUrquhart'stranslation，itisbutrighttomentiontheEnglish-FrenchDictionaryofRandleCotgrave，thefirsteditionofwhichdatesfrom1611。Itisineverywayexceedinglyvaluable，andsuperiortothatofNicot，becauseinsteadofkeepingtotheplaneofclassicandLatinFrench，itshowedanacquaintancewithandmasteryofthepopulartongueaswellasofthewrittenandlearnedlanguage。Asaforeigner，Cotgraveisalittlebehindinhisinformation。

Heisnotawareofallthechangesandnoveltiesofthepassingfashion。

ThePleiadSchoolheevidentlyknewnothingof，butkepttothewritersofthefifteenthandthefirsthalfofthesixteenthcentury。ThuswordsoutofRabelais，whichhealwaystranslateswithadmirableskill，arefrequent，andheattachestothemtheirauthor'sname。SoRabelaishadalreadycrossedtheChannel，andwasreadinhisowntongue。Somewhatlater，duringthefullswayoftheCommonwealth——andMaitreAlcofribasNasiermusthavebeenasurprisingapparitioninthemidstofPuritanseverity——CaptainUrquhartundertooktotranslatehimandtonaturalizehimcompletelyinEngland。

ThomasUrquhartbelongedtoaveryoldfamilyofgoodstandingintheNorthofScotland。AfterstudyinginAberdeenhetravelledinFrance，Spain，andItaly，wherehisswordwasasactiveasthatintelligentcuriosityofhiswhichisevidencedbyhisfamiliaritywiththreelanguagesandthelargelibrarywhichhebroughtback，accordingtohisownaccount，fromsixteencountrieshehadvisited。

OnhisreturntoEnglandheenteredtheserviceofCharlesI。，whoknightedhimin1641。Nextyear，afterthedeathofhisfather，hewenttoScotlandtosethisfamilyaffairsinorder，andtoredeemhishouseinCromarty。

But，inspiteofanothersojourninforeignlands，hiseffortstofreehimselffrompecuniaryembarrassmentswereunavailing。Attheking'sdeathhisScottishloyaltycausedhimtosidewiththosewhoopposedtheParliament。Formallyproscribedin1649，takenprisoneratthedefeatofWorcesterin1651，strippedofallhisbelongings，hewasbroughttoLondon，butwasreleasedonparoleatCromwell'srecommendation。AfterreceivingpermissiontospendfivemonthsinScotlandtotryoncemoretosettlehisaffairs，hecamebacktoLondontoescapefromhiscreditors。

Andtherehemusthavedied，thoughthedateofhisdeathisunknown。Itprobablytookplaceafter1653，thedateofthepublicationofthetwofirstbooks，andafterhavingwrittenthetranslationofthethird，whichwasnotprintedfromhismanuscripttilltheendoftheseventeenthcentury。

Hislifewasthereforenotwithoutitstroubles，andliteraryactivitymusthavebeenalmosthisonlyconsolation。Hiswritingsrevealhimasthestrangestcharacter，fantastic，andfullofanaivevanity，which，evenatthetimehewastranslatingthegenealogyofGargantua——surelywellcalculatedtocureanyponderingonhisown——causedhimtotracehisunbrokendescentfromAdam，andtostatethathisfamilynamewasderivedfromhisancestorEsormon，PrinceofAchaia，2139B。C。，whowassurnamed(Greek)，thatistosaytheFortunateandtheWell-beloved。AGasconcouldnothavesurpassedthis。

Giftedashewas，learnedinmanydirections，anenthusiasticmathematician，masterofseverallanguages，occasionallyfullofwitandhumour，andevengoodsense，yethegavehisbooksthestrangesttitles，andhisideaswerenolesswhimsical。Hisstyleismystic，fastidious，andtoooftenofawearisomelengthandobscurity；hisversesrhymeanyhow，ornotatall；butvivacity，forceandheatareneverlacking，andtheMaitlandClubdidwellinreprinting，in1834，hisvariousworks，whichareveryrare。Yet，inspiteoftheircuriousinterest，heoweshisrealdistinctionandthesurvivalofhisnametohistranslationofRabelais。

Thefirsttwobooksappearedin1653。Theoriginaledition，exceedinglyscarce，wascarefullyreprintedin1838，onlyahundredcopiesbeingissued，byanEnglishbibliophileT(heodore)M(artin)，whoseinterestingprefaceIregrettosumupsocursorily。Attheendoftheseventeenthcentury，in1693，aFrenchrefugee，PeterAntonyMotteux，whoseEnglishversesandwhoseplaysarenotwithoutvalue，publishedinalittleoctavovolumeareprint，veryincorrectastothetext，ofthefirsttwobooks，towhichheaddedthethird，fromthemanuscriptfoundamongstUrquhart'spapers。ThesuccesswhichattendedthisventuresuggestedtoMotteuxtheideaofcompletingthework，andasecondedition，intwovolumes，appearedin1708，withthetranslationofthefourthandfifthbooks，andnotes。

Nineteenyearsafterhisdeath，JohnOzell，translatoronalargescaleofFrench，Italian，andSpanishauthors，revisedMotteux'sedition，whichhepublishedinfivevolumesin1737，addingLeDuchat'snotes；andthisversionhasoftenbeenreprintedsince。

ThecontinuationbyMotteux，whowasalsothetranslatorofDonQuixote，hasmeritsofitsown。Itisprecise，elegant，andveryfaithful。

Urquhart's，withouttakinglibertieswithRabelaislikeFischart，isnotalwayssocloselyliteralandexact。Nevertheless，itismuchsuperiortoMotteux's。IfUrquhartdoesnotconstantlyadheretotheformoftheexpression，ifhemakesafewslightadditions，notonlyhasheanunderstandingoftheoriginal，buthefeelsit，andrendersthesensewithaforceandavivacityfullofwarmthandbrilliancy。Hisownlearningmadethecomprehensionoftheworkeasytohim，andhisanglicizationofwordsfabricatedbyRabelaisisparticularlysuccessful。Thenecessityofkeepingtohistextpreventedhisindulgenceintheconvolutionsanddivagationsdictatedbyhisexuberantfancywhenwritingonhisownaccount。Hisstyle，alwaysfulloflifeandvigour，isherebalanced，lucid，andpicturesque。Neverelsewheredidhewritesowell。Andthusthetranslationreproducestheveryaccentoftheoriginal，besidespossessingaveryremarkablecharacterofitsown。Suchaliterarytoneandsuchliteraryqualitiesarerarelyfoundinatranslation。Urquhart's，veryusefulfortheinterpretationofobscurepassages，may，andindeedshouldbereadasawhole，bothforRabelaisandforitsownmerits。

Holland，too，possessesatranslationofRabelais。TheyknewFrenchinthatcountryintheseventeenthcenturybetterthantheydoto-day，andthereRabelais'workswerereprintedwhennoeditionswereappearinginFrance。ThisDutchtranslationwaspublishedatAmsterdamin1682，byJ。

Tenhoorn。Thenameattachedtoit，ClaudioGallitalo(ClaudiusFrench-

Italian)mustcertainlybeapseudonym。OnlyaDutchscholarcouldidentifythetranslator，andstatethevaluetobeassignedtohiswork。

Rabelais'stylehasmanydifferentsources。Besidesitsforceandbrilliancy，itsgaiety，wit，anddignity，itsabundantrichnessisnolessremarkable。ItwouldbeimpossibleanduselesstocompileaglossaryofVoltaire'swords。NoFrenchwriterhasusedsofew，andallofthemareofthesimplest。Thereisnotoneofthemthatisnotpartofthecommonspeech，orwhichdemandsanoteoranexplanation。Rabelais'vocabulary，ontheotherhand，isofanastonishingvariety。Wheredoesitallcomefrom？Asafact，hehadathiscommandsomethinglikethreelanguages，whichheusedinturn，orwhichhemixedaccordingtotheeffecthewishedtoproduce。

Firstofall，ofcourse，hehadreadytohishandthewholespeechofhistime，whichhadnosecretsforhim。Provincialshavebeentooeagertoappropriatehim，tomakeofhimalocalauthor，theprideofsomevillage，inorderthattheirdistrictmighthavethemeritofbeingoneofthecauses，oneofthefactorsofhisgenius。Everyneighbourhoodwhereheeverlivedhasdeclaredthathisdistinctionwasduetohisknowledgeofitspopularspeech。Butthesedialect-patriotshavefallenoutamongthemselves。Towhichdialectwasheindebted？WasitthatofTouraine，orBerri，orPoitou，orParis？Itistoooftenforgotten，inregardtoFrenchpatois——leavingoutofcountthelanguagesoftheSouth——thatthewordsorexpressionsthatarenolongerinuseto-dayarebutasurvival，astilllivingtraceofthetongueandthepronunciationofotherdays。Rabelais，morethananyotherwriter，tookadvantageofthehappychancesandtherichnessofthepopularspeech，buthewroteinFrench，andnothingbutFrench。Thatiswhyheremainssoforcible，solucid，andsoliving，morelivingeven——speakingonlyofhisstyleoutofcharitytotheothers——thananyofhiscontemporaries。

IthasbeensaidthatgreatFrenchproseissolelytheworkoftheseventeenthcentury。Therewerenevertheless，beforethat，twomen，certainlyverydifferentandevenhostile，whowereitsinitiatorsanditsmasters，Calvinontheonehand，ontheotherRabelais。

Rabelaishadawonderfulknowledgeoftheproseandtheverseofthefifteenthcentury:hewasfamiliarwithVillon，Pathelin，theQuinzeJoiesdeMariage，theCentNouvelles，thechroniclesandtheromances，andevenearlierworks，too，suchastheRomandelaRose。Theirwords，theirturnsofexpressioncamenaturallytohispen，andaddedapiquancyand，asitwere，akindofglossofantiquenoveltytohiswork。Hefabricatedwords，too，onGreekandLatinmodels，withgreatease，sometimesaudaciouslyandwithneedlessfrequency。Thesewereforhimsomanymeans，somanyelementsofvariety。Sometimeshedidthisinmockery，asinthehumorousdiscourseoftheLimousinscholar，forwhichheisnotalittleindebtedtoGeoffroyToryintheChampfleury；sometimes，onthecontrary，seriously，fromahabitacquiredindealingwithclassicaltongues。

Again，anotherreasonoftherichnessofhisvocabularywasthatheinventedandforgedwordsforhimself。FollowingtheexampleofAristophanes，hecoinedanenormousnumberofinterminablewords，drollexpressions，suddenandsurprisingconstructions。WhathadmadeGreeceandtheAthenianslaughwasworthtransportingtoParis。

Withaninstrumentsorich，resourcessoendless，andtheskilltousethem，itisnowonderthathecouldgivevoicetoanything，beashumorousashecouldbeserious，ascomicashecouldbegrave，thathecouldexpresshimselfandeverybodyelse，fromthelowesttothehighest。Hehadeverycolouronhispalette，andsuchskillwasinhisfingersthathecoulddepicteveryvarietyoflightandshade。

WehaveevidencethatRabelaisdidnotalwayswriteinthesamefashion。

TheChroniqueGargantuaineisuniforminstyleandquitesimple，butcannotwithcertaintybeattributedtohim。Hislettersarebombasticandthin；

hisfewattemptsatverseareheavy，lumbering，andobscure，altogetherlackinginharmony，andquiteasbadasthoseofhisfriend，JeanBouchet。

Hehadnogiftofpoeticform，asindeedisevidentevenfromhisprose。

AndhislettersfromRometotheBishopofMaillezais，interestingastheyareinregardtothematter，areasdull，bare，flat，anddryinstyleaspossible。Withouthissignaturenoonewouldpossiblyhavethoughtofattributingthemtohim。Heisonlyaliteraryartistwhenhewishestobesuch；andinhisromancehechangesthestylecompletelyeveryothermoment:ithasnoconstantcharacteroruniformmanner，andthereforeunityisalmostentirelywantinginhiswork，whilehisendeavoursaftercontrastareunceasing。Thereisthroughoutthewholetheevidenceofcarefulandconsciouselaboration。

Hence，howeverlucidandfreebethestyleofhisromance，andthoughitsflexibilityandeaseseematfirstsighttohavecostnotroubleatall，yetitsmeritliespreciselyinthefactthatitsucceedsinconcealingthetoil，inhidingtheseams。Hecouldnothavereachedthisperfectionatafirstattempt。Hemusthaveworkedlongatthetask，reviseditagainandagain，correctedmuch，andaddedratherthancutaway。Theaptnessofformandexpressionhasbeenarrivedatbydeliberatemeans，andowesnothingtochance。Apartfromthetoningdownofcertainboldpassages，tosoftentheireffect，andappeasethestorm——forthesewerenotliteraryalterations，butwereimposedonhimbyprudence——onecanseehownumerousarethevariationsinhistext，hownecessaryitistotakeaccountofthem，andtocollectthem。Agoodedition，ofcourse，wouldmakenoattemptatamalgamatingthese。Thatwouldgiveafalseimpressionandendinconfusion；butitshouldnotethemall，andshowthemall，notcombined，butsimplyasvariations。

AfterLeDuchat，alltheeditions，intheircarethatnothingshouldbelost，madethemistakeofcollectingandplacingsidebysidethingswhichhadnoconnectionwitheachother，whichhadevenbeensubstitutedforeachother。Theresultwasafabricatedtext，fullofcontradictionsnaturally。

ButsincetheeditionissuedbyM。Jannet，thewell-knownpublisheroftheBibliothequeElzevirienne，whowasthefirsttogetridofthispatchwork，thismosaic，Rabelais'latesttexthasbeengiven，accompaniedbyalltheearliervariations，toshowthechangeshemade，aswellashissuppressionsandadditions。Itwouldalsobepossibletoreversethemethod。Itwouldbeinterestingtotakehisfirsttextasthebasis，notingthelatermodifications。Thiswouldbequiteasinstructiveandreallyworthdoing。Perhapsonemightthenseemoreclearlywithwhatcarehemadehisrevisions，afterwhatfashionhecorrected，andespeciallywhatweretheadditionshemade。

Nomorestrikinginstancecanbequotedthantheadmirablechapterabouttheshipwreck。ItwasnotalwayssolongasRabelaismadeitintheend:

itwasmuchshorteratfirst。Asarule，whenanauthorrecastssomepassagethathewishestorevise，hedoessobyrewritingthewhole，oratleastbyinterpolatingpassagesatonestroke，sotospeak。Nothingofthekindisseenhere。Rabelaissuppressednothing，modifiednothing；hedidnotchangehisplanatall。Whathedidwastomakeinsertions，toslipinbetweentwoclausesanewone。Heexpressedhismeaninginalengthierway，andtheformerclauseisfoundinitsintegrityalongwiththeadditionalone，ofwhichitforms，asitwere，thewarp。Itwasbythismethodoftouchingupthesmallestdetails，bymakinghereandtheresuchlittlenoticeableadditions，thathesucceededinheighteningtheeffectwithouteitherchangeorloss。Intheenditlooksasifhehadalterednothing，addednothingnew，asifithadalwaysbeensofromthefirst，andhadneverbeenmeddledwith。

Thecomparisonismostinstructive，showingustowhatanextentRabelais'

admirablestylewasduetoconsciouseffort，care，andelaboration，afactwhichisgenerallytoomuchoverlooked，andhowinsteadofleavinganytracewhichwouldrevealtoilandstudy，ithasonthecontraryamarvellouscohesion，precision，andbrilliancy。Itwasmodelledandremodelled，repaired，touchedup，andyetithasalltheappearanceofhavingbeencreatedatasinglestroke，orofhavingbeenrunlikemoltenwaxintoitsfinalform。

SomethingshouldbesaidhereofthesourcesfromwhichRabelaisborrowed。

HewasnotthefirstinFrancetosatirizetheromancesofchivalry。TheromanceinversebyBaudouindeSebourc，printedinrecentyears，wasaparodyoftheChansonsdeGeste。IntheMoniageGuillaume，andespeciallyintheMoniageRainouart，inwhichthereisakindofgiant，andoccasionallyacomicgiant，therearesituationsandsceneswhichremindusofRabelais。ThekindofFabliauxinmono-rhymequatrainsoftheoldAuberyanticipatehiscoarseandpopularjests。Butallthatisbesidethequestion；Rabelaisdidnotknowthese。Nothingisofdirectinterestsavewhatwasknowntohim，whatfellunderhiseyes，whatlaytohishand——astheFacetiaeofPoggio，andthelastsermonnaires。Inthecourseofone'sreadingonemayoftenenoughcomeacrosstheoriginofsomeofRabelais'

witticisms；hereandtherewemaydiscoverhowhehaddevelopedasituation。Whilegatheringhismaterialswhereverhecouldfindthem，hewasneverthelessprofoundlyoriginal。

Onthispointmuchresearchandinvestigationmightbeemployed。Butthereisnoneedwhytheseresearchesshouldbeextendedtotheregionoffancy。

GargantuahasbeenprovedbysometobeofCelticorigin。Veryoftenheisasolarmyth，andthestatementthatRabelaisonlycollectedpopulartraditionsandgavenewlifetoancientlegendsissaidtobeprovedbythelargenumberofmegalithicmonumentstowhichisattachedandnameofGargantua。Itwas，ofcourse，quiterighttomakealistofthese，todrawup，asitwere，achartofthem，buttheconclusionisnotjustified。Thename，insteadofbeingearlier，isreallylater，andisawitness，nottotheorigin，buttothesuccessandrapidpopularityofhisnovel。NoonehaseveryetproducedawrittenpassageoranyancienttestimonytoprovetheexistenceofthenamebeforeRabelais。Toplacesuchatraditiononasurebasis，positivetracesmustbeforthcoming；andtheycannotbeadducedevenforthemostcelebratedofthesemonuments，sincehementionshimselfthegreatmenhirnearPoitiers，whichhechristenedbythenameofPasselourdin。Thatthereissomethinginthetheoryispossible。Perraultfoundthesubjectsofhisstoriesinthetalestoldbymothersandnurses。

Hefixedthemfinallybywritingthemdown。Floatingaboutvaguelyastheywere，heseizedthem，workedthemup，gavethemshape，andyetofscarcelyanyofthemistheretobefoundbeforehistimeasingletrace。SowemustresignourselvestoknowjustaslittleofwhatGargantuaandPantagruelwerebeforethesixteenthcentury。

InabookofacontemporaryofRabelais，theLegendedePierreFaifeubytheAngevin，CharlesdeBourdigne，thefirsteditionofwhichdatesfrom1526andthesecond1531——bothsorareandsoforgottenthattheworkisonlyknownsincetheeighteenthcenturybythereprintofCustelier——intheintroductoryballadwhichrecommendsthisbooktoreaders，occurtheselinesinthelistofpopularbookswhichFaifeuwoulddesiretoreplace:

'LaissezesterCaillettelefolastre，LesquatrefilzAymonvestuzdebleu，Gargantuaquiacheveuxdeplastre。'

Hehasnot'cheveuxdeplastre'inRabelais。Iftherhymehadnotsuggestedthephrase——andtheexigenciesofthestrictformoftheballadeanditsforcedrepetitionsoftenimposedanideawhichhaditswholeoriginintherhyme——wemighthereseeadramatictracefoundnowhereelse。ThenameofPantagruelismentionedtoo，incidentally，inaMysteryofthefifteenthcentury。Thesearetheonlyreferencestothenameswhichuptillnowhavebeendiscovered，andtheyare，asonesees，ofbutlittleaccount。

Ontheotherhand，theinfluenceofAristophanesandofLucian，hisintimateacquaintancewithnearlyallthewritersofantiquity，GreekaswellasLatin，withwhomRabelaisismorepermeatedeventhanMontaigne，wereamineofinspiration。Theproofofitiseverywhere。Plinyespeciallywashisencyclopaedia，hisconstantcompanion。AllhesaysofthePantagruelianherb，thoughheamplydevelopeditforhimself，istakenfromPliny'schapteronflax。Andthereisagreatdealmoreofthiskindtobediscovered，forRabelaisdoesnotalwaysgiveitasquotation。Ontheotherhand，whenhewrites，'Suchanonesays，'itwouldbedifficultenoughtofindwhoismeant，forthe'suchanone'isafictitiouswriter。

Themethodisamusing，butitiscurioustoaccountofit。

ThequestionoftheChroniqueGargantuaineisstillundecided。IsitbyRabelaisorbysomeoneelse？Boththeoriesaredefensible，andcanbesupportedbygoodreasons。IntheChroniqueeverythingisheavy，occasionallymeaningless，andnearlyalwaysinsipid。CanthesamemanhavewrittentheChroniqueandGargantua，replacedabookreallycommonplacebyamasterpiece，changedthefactsandincidents，transformedaheavyicypleasantryintoaworkglowingwithwitandlife，madeitnolongeramassoflaborioustriflingandcold-bloodedexaggerationsbutasatireonhumanlifeofthehighestgenius？Stilltherearepointscommontothetwo。

Besides，Rabelaiswroteotherthings；anditisonlyinhisromancethatheshowsliteraryskill。Theconceptionofitwouldhaveenteredhismindfirstonlyinabareandsummaryfashion。Itwouldhavebeentakenupagain，expanded，developed，metamorphosed。Thatispossible，and，formypart，Iamofthosewho，likeBrunetandNodier，areinclinedtothinkthattheChronique，inspiteofitsinferiority，isreallyafirstattempt，condemnedassoonastheideawasconceivedinanotherform。Asitsearlierdateisincontestable，wemustconcludethatiftheChroniqueisnotbyhim，hisGargantuaanditscontinuationwouldnothaveexistedwithoutit。Thisshouldbeagreatobligationtostandundertosomeunknownauthor，andinthatcaseitisastonishingthathisenemiesdidnotreproachhimduringhislifetimewithbeingmerelyanimitatorandaplagiarist。Sotherearereasonsforandagainsthisauthorshipofit，anditwouldbedangeroustomaketooboldanassertion。

Onefactwhichisabsolutelycertainandbeyondallcontroversy，isthatRabelaisowedmuchtooneofhiscontemporaries，anItalian，totheHistoireMacaroniqueofMerlinCoccaie。Itsauthor，TheophilusFolengo，whowasalsoamonk，wasbornin1491，anddiedonlyashorttimebeforeRabelais，in1544。Buthisburlesquepoemwaspublishedin1517。ItwasinLatinverse，writteninanelaboratelyfabricatedstyle。ItisnotdogLatin，butLatiningeniouslyitalianized，orratherItalian，evenMantuan，latinized。ThecontrastbetweenthemodernformofthewordanditsRomangarbproducesthemostamusingeffect。Intheoriginalitissometimesdifficulttoread，forFolengohasnoobjectiontousingthemostcolloquialwordsandphrases。

Thesubjectisquitedifferent。ItistheadventuresofBaldo，sonofGuydeMontauban，theverylivelyhistoryofhisyouth，histrial，imprisonmentanddeliverance，hisjourneyinsearchofhisfather，duringwhichhevisitsthePlanetsandHell。Thenarrationisconstantlyinterruptedbyincidentaladventures。Occasionallytheyarewhatwouldbecalledto-dayverynaturalistic，andsometimestheyaremadlyextravagant。

ButFracasso，Baldo'sfriend，isagiant；anotherfriend，Cingar，whodelivershim，isPanurgeexactly，andquiteasmuchgiventopracticaljoking。ThewomeninthesenileamouroftheoldTognazzo，thejudges，andthepoorsergeants，arenomoregentlydealtwithbyFolengothanbythemonkoftheIlesd'Hyeres。IfDindenaut'snamedoesnotoccur，therearethesheep。Thetempestisthere，andtheinvocationtoallthesaints。

Rabelaisimprovesallheborrows，butitisfromFolengohestarts。Hedoesnotreproducethewords，but，liketheItalian，herevelsindrinkingscenes，junkettings，gormandizing，battles，scuffles，woundsandcorpses，magic，witches，speeches，repeatedenumerations，lengthiness，andasolemnlyminuteprecisionofimpossibledatesandnumbers。Theatmosphere，thetone，themethodsarethesame，andtoknowRabelaiswell，youmustknowFolengowelltoo。

Detailedproofofthiswouldbetoolengthyamatter；onewouldhavetoquotetoomanypassages，butonthisquestionofsourcesnothingismoreinterestingthanaperusaloftheOpusMacaronicorum。ItwastranslatedintoFrenchonlyin1606——Paris，GilleyRobinot。Thistranslationofcoursecannotreproduceallthemanyamusingformsofwords，butitisuseful，nevertheless，inshowingmoreclearlythepointsofresemblancebetweenthetwoworks，——howfarinform，ideas，details，andphrasesRabelaiswaspermeatedbyFolengo。Theanonymoustranslatorsawthisquitewell，andsaidsoinhistitle，'HistoiremacaroniquedeMerlinCoccaie，prototypeofRabelais。'Itisnothingbutthetruth，andRabelais，whodoesnothideitfromhimself，onmorethanoneoccasionmentionsthenameofMerlinCoccaie。

Besides，RabelaiswasfedontheItaliansofhistimeasontheGreeksandRomans。Panurge，whoowesmuchtoCingar，isalsonotfreefromobligationstothemiscreantMargutteintheMorganteMaggioreofPulci。

HadRabelaisinhismindthetalefromtheFlorentineChronicles，howintheSavonarolariots，whenthePiagnoniandtheArrabiaticametoblowsinthechurchoftheDominicanconventofSan-Marco，FraPietrointhescufflebroketheheadsoftheassailantswiththebronzecrucifixhehadtakenfromthealtar？Awell-handledcrosscouldsoreadilybeusedasaweapon，thatprobablyithasservedassuchmorethanonce，andotherandevenquitemoderninstancesmightbequoted。

ButotherItaliansourcesareabsolutelycertain。TherearefewmorewonderfulchaptersinRabelaisthantheoneaboutthedrinkers。Itisnotadialogue:thoseshortexclamationsexplodingfromeveryside，allreferringtothesamething，neverrepeatingthemselves，andyetalwaysvaryingthesametheme。AttheendoftheNovelleofGentileSerminiofSiena，thereisachaptercalledIlGiuocodellapugna，theGameofBattle。

Herearethefirstlinesofit:'Apre，apre，apre。Chigioca，chigioca——

uh，uh！——APorrione，aPorrione——Viela，viela；dateaognuno——Allemantella，allemantella——Oltredicorsa；nonvifermate——Voltatequi；

eccocostoro；fateveliinnanzi——Viela，viela；datecosti——Chilafa？

Io——Edio——Dagli；ah，ah，buonafu——Orcosi；allamascella，alfianco——

Daglibasso；dipunta，dipunta——Ah，ah，buongioco，buongioco。'

Andthusitgoesonwithfireandanimationforpages。Rabelaisprobablytranslatedordirectlyimitatedit。Hechangedthescene；therewasnogiuoocodellapugnainFrance。Hetransferredtoadrinking-boutthisclatterofexclamationswhichgooffbythemselves，whichcrosseachotherandgetnoanswer。Hemadeawonderfulthingofit。ButthoughhedidnotcopySermini，yetSermini'sworkprovidedhimwiththeformofthesubject，andwasthethemeforRabelais'marvellousvariations。

Whodoesnotrememberthefantasticquarrelofthecookwiththepoordevilwhohadflavouredhisdrybreadwiththesmokeoftheroast，andthejudgmentofSeynyJohn，trulyworthyofSolomon？ItcomesfromtheCentoNovelleAntiche，rewrittenfromtalesolderthanBoccaccio，andmoreoverofanextremebrevityanddryness。Theyareonlytheframework，thenotes，theskeletonoftales。Thesubjectisoftenwonderful，butnothingismadeofit:itisleftunshaped。Rabelaiswroteaversionofone，theninth。

Thescenetakesplace，notatParis，butatAlexandriainEgyptamongtheSaracens，andthecookiscalledFabrac。Butthesurpriseattheend，thesagaciousjudgmentbywhichthesoundofapieceofmoneywasmadethepriceofthesmoke，isthesame。NowthefirstdatededitionoftheCentoNovelle(whichwerefrequentlyreprinted)appearedatBolognain1525，anditiscertainthatRabelaishadreadthetales。AndtherewouldbemuchelseofthesamekindtolearnifweknewRabelais'library。

Astillstrangerfactofthissortmaybegiventoshowhownothingcameamisstohim。Hemusthaveknown，andevencopiedtheLatinChronicleoftheCountsofAnjou。Itisaccepted，andrightlyso，asanhistoricaldocument，butthatisnoreasonforthinkingthatthetruthmaynothavebeenmanipulatedandadorned。TheCountsofAnjouwerenotsaints。Theywereproud，quarrelsome，violent，rapacious，andextravagant，asgreedyastheywerecharitabletotheChurch，treacherousandcruel。Yettheiranonymouspanegyristhasmadethempatternsofallthevirtues。Inrealityitisbothahistoryandinsomesortaromance；especiallyisitacollectionofexamplesworthyofbeingfollowed，inthestyleoftheCyropaedia，ourJuvenalofthefifteenthcentury，andalittlelikeFenelon'sTelemaque。Nowinitthereoccurstheaddressofoneofthecountstothosewhorebelledagainsthimandwhowereathismercy。

Rabelaismusthaveknownit，forhehascopiedit，orrather，literallytranslatedwholelinesofitinthewonderfulspeechofGargantuatothevanquished。Hiscontemporaries，whoapprovedofhisborrowingfromantiquity，couldnotdetectthisone，becausethebookwasnotprintedtillmuchlater。ButRabelaislivedinMaine。InAnjou，whichoftenfiguresamongthelocalitieshenames，hemusthavemetwithandreadtheChroniclesoftheCountsinmanuscript，probablyinsomemonasterylibrary，whetheratFontenay-le-Comteorelsewhereitmatterslittle。Thereisnotonlyalikenessintheideasandtone，butinthewordstoo，whichcannotbeamerematterofchance。HemusthaveknowntheChroniclesoftheCountsofAnjou，andtheyinspiredoneofhisfinestpages。Onesees，therefore，howvariedwerethesourceswhencehedrew，andhowmanyofthemmustprobablyalwaysescapeus。

When，ashasbeendoneforMoliere，acriticalbibliographyoftheworksrelatingtoRabelaisisdrawnup——which，bythebye，willentailaverygreatamountoflabour——theeasiestpartwillcertainlybethebibliographyoftheoldeditions。Thatisthesectionthathasbeenmostsatisfactorilyandmostcompletelyworkedout。M。BrunetsaidthelastwordonthesubjectinhisResearchesin1852，andintheimportantarticleinthefiftheditionofhisManuelduLibraire(iv。，1863，pp。1037-1071)。

Thefactsaboutthefifthbookcannotbesummedupbriefly。Itwasprintedasawholeatfirst，withoutthenameoftheplace，in1564，andnextyearatLyonsbyJeanMartin。Ithasgiven，andevenstillgivesrisetotwocontradictoryopinions。IsitRabelais'ornot？

Firstofall，ifhehadleftitcomplete，wouldsixteenyearshavegonebybeforeitwasprinted？Then，doesitbearevidentmarksofhisworkmanship？Isthehandofthemastervisiblethroughout？AntoineDuVerdierinthe1605editionofhisProsopographiewrites:'(Rabelais')

misfortunehasbeenthateverybodyhaswishedto"pantagruelize！"andseveralbookshaveappearedunderhisname，andhavebeenaddedtohisworks，whicharenotbyhim，as，forinstance，l'IleSonnante，writtenbyacertainscholarofValenceandothers。'

ThescholarofValencemightbeGuillaumedesAutels，towhomwithmorecertaintycanbeascribedtheauthorshipofadullimitationofRabelais，theHistoryofFanfrelucheandGaudichon，publishedin1578，which，tosaytheleastofit，isverymuchinferiortothefifthbook。

LouisGuyon，inhisDiversesLecons，isstillmorepositive:'Astothelastbookwhichhasbeenincludedinhisworks，entitledl'IleSonnante，theobjectofwhichseemstobetofindfaultwithandlaughatthemembersandtheauthoritiesoftheCatholicChurch，Iprotestthathedidnotcomposeit，foritwaswrittenlongafterhisdeath。IwasatPariswhenitwaswritten，andIknowquitewellwhowasitsauthor；hewasnotadoctor。'Thatisveryemphatic，anditisimpossibletoignoreit。

YeteveryonemustrecognizethatthereisagreatdealofRabelaisinthefifthbook。Hemusthaveplanneditandbegunit。Rememberingthatin1548hehadpublished，notasanexperiment，butratherasabaitandasanannouncement，thefirstelevenchaptersofthefourthbook，wemayconcludethatthefirstsixteenchaptersofthefifthbookpublishedbythemselvesnineyearsafterhisdeath，in1562，representtheremainderofhisdefinitelyfinishedwork。Thisisthemorecertainbecausethesefirstchapters，whichcontaintheApologueoftheHorseandtheAssandtheterribleFurredLaw-cats，aremarkedlybetterthanwhatfollowsthem。Theyarenottheonlyoneswherethemaster'shandmaybetraced，buttheyaretheonlyoneswherenootherhandcouldpossiblyhaveinterfered。

IntheremainderthesentimentisdistinctlyProtestant。Rabelaiswasmuchstruckbythevicesoftheclergyanddidnotsparethem。Whetherweareunabletoforgivehiscriticismsbecausetheywereconceivedinaspiritofraillery，orwhether，ontheotherhand，wefeeladmirationforhimonthispoint，yetRabelaiswasnotintheleastasectary。Ifhestronglydesiredamoralreform，indirectlypointingouttheneedofitinhismockingfashion，hewasnotfavourabletoapoliticalreform。ThosewhowouldmakeofhimaProtestantaltogetherforgetthattheProtestantsofhistimewerenotforhim，butagainsthim。HenriEstienne，forinstance，Ramus，TheodoredeBeze，andespeciallyCalvin，shouldknowhowhewastoberegarded。Rabelaisbelongedtowhatmaybecalledtheearlyreformation，tothatbandofhonestmeninthebeginningofthesixteenthcentury，precursorsofthelateroneperhaps，but，likeErasmus，betweenthetwoextremes。HewasneitherLutherannorCalvinist，neitherGermannorGenevese，anditisquitenaturalthathisworkwasnotreprintedinSwitzerland，whichwouldcertainlyhavehappenedhadtheProtestantslookedonhimasoneofthemselves。

ThatRabelaiscollectedthematerialsforthefifthbook，hadbegunit，andgotonsomeway，therecanbenodoubt:theexcellenceofalargenumberofpassagesproveit，but——takenasawhole——thefifthbookhasnotthevalue，theverve，andthevarietyoftheothers。Thestyleisquitedifferent，lessrich，briefer，lesselaborate，drier，inpartsevenwearisome。InthefirstfourbooksRabelaisseldomrepeatshimself。Thefifthbookcontainsfromthepointofviewofthevocabularyreallytheleastnovelty。Onthecontrary，itisfullofwordsandexpressionsalreadymetwith，whichisverynaturalinanimitation，inacopy，forcedtokeeptoasimilartone，andtoshowbysuchremindersandlikenessesthatitisreallybythesamepen。Averystrikingpointistheprofounddifferenceintheuseofanatomicalterms。Intheotherbookstheyaremostfrequentlyusedinahumoroussense，andnonsensically，withaquiteothermeaningthantheirown；inthefifththeyareappliedcorrectly。Itwasnecessarytoincludesuchtermstokeepupthepractice，butthewriterhasnotthoughtofusingthemtoaddtothecomiceffect:onecannotalwaysthinkofeverything。Troublehasbeentaken，ofcourse，toincludeenumerations，buttherearemuchfewerfabricatedandfantasticwords。Inshort，thehandofthemakerisfarfromshowingthesamesupplenessandstrength。

AeulogisticquatrainissignedNaturequite，which，itisgenerallyagreed，isananagramofJeanTurquet。Didtheadapterofthefifthbooksignhisworkinthisindirectfashion？HemightbeoftheGenevesefamilytowhomLouisTurquetandhissonTheodorebelonged，bothwell-known，andbothstrongProtestants。Theobscurityrelatingtothismatterisfarfrombeingclearedup，andperhapsneverwillbe。

Itfelltomylot——here，unfortunately，Iamforcedtospeakofapersonalmatter——toprintforthefirsttimethemanuscriptofthefifthbook。AtfirstitwashopeditmightbeinRabelais'ownhand；afterwardsthatitmightbeatleastacopyofhisunfinishedwork。Thetaskwasadifficultone，forthewriting，extremelyflowingandrapid，isexecrable，andmostdifficulttodecipherandtotranscribeaccurately。Besides，itoftenhappensinthesixteenthandtheendofthefifteenthcentury，thatmanuscriptsaremuchlesscorrectthantheprintedversions，evenwhentheyhavenotbeencopiedbyclumsyandignoranthands。Inthiscase，itisthewritingofaclerkexecutedasquicklyaspossible。Thefartheritgoesthemoreincorrectitbecomes，asifthewriterwereinhastetofinish。

Whatisreallytheoriginofit？IthaslesstheappearanceofnotesorfragmentspreparedbyRabelaisthanofafirstattemptatrevision。Itisnotanauthor'sroughdraft；stilllessisithismanuscript。IfIhadnotprintedthisenigmaticaltextwithscrupulousandpainfulfidelity，Iwoulddoitnow。Itwasnecessarytodoitsoastocleartheway。Butasthethingisdone，andaccessibletothosewhomaybeinterested，andwhowishtocriticallyexamineit，thereisnofurtherneedofreprintingit。AlltheeditionsofRabelaiscontinue，andrightly，toreproducetheeditionof1564。ItisnottherealRabelais，buthoweveropentocriticismitmaybe，itwasunderthatformthatthefifthbookappearedinthesixteenthcentury，underthatformitwasaccepted。Consequentlyitisconvenientandevennecessarytofollowandkeeptotheoriginaledition。

Thefirstsixteenchaptersmay，andreallymustbe，thetextofRabelais，inthefinalformasleftbyhim，andfoundafterhisdeath；theframework，andanumberofthepassagesinthecontinuation，thebestones，ofcourse，arehis，buthavebeenpatchedupandtamperedwith。Nothingcanhavebeensuppressedofwhatexisted；itwasevidentlythoughtthateverythingshouldbeadmittedwiththefinalrevision；butthetonewaschanged，additionsweremade，and'improvements。'Adaptersarealwaysstrangelyvain。

Intheseventeenthcentury，theFrenchprinting-press，saveforaneditionissuedatTroyesin1613，gaveuppublishingRabelais，andtheworkpassedtoforeigncountries。JeanFuetreprintedhimatAntwerpin1602。AftertheAmsterdameditionof1659，whereforthefirsttimeappears'TheAlphabetoftheFrenchAuthor，'comestheElzevireeditionof1663。Thetype，animitationofwhatmadethereputationofthelittlevolumesoftheGryphesofLyons，ischarming，theprintingisperfect，andthepaper，whichisFrench——thedevelopmentofpaper-makinginHollandandEnglanddidnottakeplacetillaftertheRevocationoftheEdictofNantes——isexcellent。Theyareprettyvolumestotheeye，but，asinallthereprintsoftheseventeenthcentury，thetextisfulloffaultsandmostuntrustworthy。

France，througharepresentativeinaforeignland，however，comesintolineagaininthebeginningoftheeighteenthcentury，andinareallyseriousfashion，thankstotheveryconsiderablelearningofaFrenchrefugee，JacobLeDuchat，whodiedin1748。HehadamostthoroughknowledgeoftheFrenchprose-writersofthesixteenthcentury，andhemadethemaccessiblebyhiseditionsoftheQuinzeJoiesduMariage，ofHenriEstienne，ofAgrippad'Aubigne，ofL'Etoile，andoftheSatyreMenippee。

In1711hepublishedaneditionofRabelaisatAmsterdam，throughHenryBordesius，infiveduodecimovolumes。Thereprintinquartowhichheissuedin1741，sevenyearsbeforehisdeath，is，withitsengravingsbyBernardPicot，afinelibraryedition。LeDuchat'sisthefirstofthecriticaleditions。Ittakesaccountofdifferencesinthetexts，andbeginstopointoutthevariations。Hisverynumerousnotesareremarkable，andarestillworthyofmostseriousconsideration。Hewasthefirsttoofferusefulelucidations，andthesehavebeenrepeatedafterhim，andwithgoodreasonwillcontinuetobeso。TheAbbedeMassy'seditionof1752，alsoanAmsterdamproduction，hasmadeuseofLeDuchat'sbutdoesnottakeitsplace。Finally，atendofthecentury，CazinprintedRabelaisinhislittlevolume，in1782，andBartiersissuedtwoeditions(ofnoimportance)atParisin1782and1798。Fortunatelythenineteenthcenturyhasoccupieditselfwiththegreat'Satyrique'inamorecompetentandusefulfashion。

In1820L'AulnayepublishedthroughDesoerhisthreelittlevolumes，printedinexquisitestyle，andwhichhaveothermeritsbesides。Hisvolumeofannotations，inwhich，thatnothingmightbelostofhisownnotes，hehasincludedmanythingsnotdirectlyrelatingtoRabelais，isfullofobservationsandcuriousremarkswhichareveryusefuladditionstoLeDuchat。Onefaulttobefoundwithhimishisfurthercomplicationofthespelling。Thishedidinaccordancewithaprinciplethatthewordsshouldbereferredtotheirrealetymology。Learnedthoughhewas，Rabelaishadlittlecaretobesoetymological，anditisnothistheoriesbutthoseofthemodernscholarthathavebeenventilated。

Somewhatlater，from1823to1826，EsmangartandJohanneauissuedavariorumeditioninninevolumes，inwhichthetextisoftenencumberedbynoteswhicharereallytoonumerous，and，aboveall，toolong。Theworkwasanenormousone，butthebestpartofitisLeDuchat's，andwhatisnothisistoooftenabsolutelyhypotheticalandbesidethetruth。LeDuchathadalreadygiventoomuchimportancetothefalsehistoricalexplanation。Hereitisconstantlycomingin，anditrestsonnoevidence。

Inreality，thereisnoneedofthekeytoRabelaisbywhichtodiscoverthemeaningofsubtleallusions。Heisneithersocomplicatednorsofullofriddles。Weknowhowhehasscatteredthenamesofcontemporariesabouthiswork，sometimesoffriends，sometimesofenemies，andwithoutdisguisingthemunderanymask。HeisnomorePanurgethanLouisXII。isGargantuaorFrancisI。Pantagruel。Rabelaissayswhathewants，allhewants，andinthewayhewants。Therearenomysteriesbelowthesurface，anditisawasteoftimetolookforknotsinabulrush。Allthehistoricalexplanationsarepurelyimaginary，utterlywithoutproof，andshouldthemoreemphaticallybelookedonasbaselessanddismissed。Theyareradicallyfalse，andthereforebothworthlessandharmful。

In1840thereappearedintheBibliothequeCharpentiertheRabelaisinasingleduodecimovolume，begunbyCharlesLabiche，and，afterhisdeath，completedbyM。PaulLacroix，whoseshareisthelarger。ThetextisthatofL'Aulnaye；theshortfootnotes，withalltheirbrevity，containusefulexplanationsofdifficultwords。AmongsttheeditionsofRabelaisthisisoneofthemostimportant，becauseitbroughthimmanyreadersandadmirers。Nootherhasmadehimsowellandsowidelyknownasthisportablevolume，whichhasbeenconstantlyreprinted。Nootherhasbeensowidelycirculated，andthesalestillgoeson。Itwas，andmuststillbelookedonasamostserviceableedition。

TheeditionpublishedbyDidotin1857hasanaltogetherspecialcharacter。

InthebiographicalnoticeM。RatheryforthefirsttimetreatedastheydeservethefoolishprejudiceswhichhavemadeRabelaismisunderstood，andM。BurgauddesMaretssetthetextonaquitenewbase。Havingproved，whatofcourseisveryevident，thatintheoriginaleditionsthespelling，andthelanguagetoo，wereofthesimplestandclearest，andwerenotbristlingwiththenonsensicalandsuperfluousconsonantswhichhavegivenrisetotheideathatRabelaisisdifficulttoread，hetookthetroublefirstofalltonotethespellingofeachword。Wheneverinasingleinstancehefounditinaccordancewithmodernspelling，hemadeitthesamethroughout。Thetaskwasahardone，andRabelaiscertainlygainedinclearness，butover-zealisoftenfataltoareform。Inrespecttoitsprecisionandthevalueofitsnotes，whichareshortandveryjudicious，BurgauddesMarets'editionisvaluable，andisamongstthosewhichshouldbeknownandtakenintoaccount。

SinceLeDuchatalltheeditionshaveacommonfault。Theyarenotexactlyguiltyoffabricating，buttheysetupanartificialtextinthesensethat，inordertoloseaslittleaspossible，theyhavecollectedandunitedwhatoriginallywerevariations——therevisions，inshort，oftheoriginaleditions。GuidedbythewisecounselsgivenbyBrunetin1852inhisResearchesontheoldeditionsofRabelais，PierreJannetpublishedthefirstthreebooksin1858；then，whenthepublicationoftheBibliothequeElzeviriennewasdiscontinued，hetookuptheworkagainandfinishedtheeditioninPicard'sbluelibrary，inlittlevolumes，eachbookquitedistinct。ItwasM。JannetwhoinourdaysfirstrestoredthepureandexacttextofRabelais，notonlywithoutretouchingit，butwithoutmakingadditionsorinsertions，orjuxtapositionofthingsthatwerenotformerlyfoundtogether。ForeachofthebookshehasfollowedthelasteditionissuedbyRabelais，andalltheearlierdifferenceshegivesasvariations。

Itisastonishingthatathingsosimpleandsofittingshouldnothavebeendonebefore，andtheresultisthatthisabsolutelyexactfidelityhasrestoredaluciditywhichwasnotwantinginRabelais'stime，butwhichhadsincebeenobscured。AllwhohavecomeafterJannethavefollowedinhispath，andthereisnoreasonforstrayingfromit。

THEFIRSTBOOK。

TotheHonoured，NobleTranslatorofRabelais。

Rabelais，whosewitprodigiouslywasmade，Allmen，professions，actionstoinvade，Withsomuchfuriousvigour，asifitHadlivedo'ereachofthem，andeachhadquit，Yetwithsuchhappysleightandcarelessskill，As，liketheserpent，dothwithlaughterkill，SothatalthoughhisnobleleavesappearAnticandGottish，anddullsoulsforbearToturnthemo'er，lesttheyshouldonlyfindNothingbutsavagemonstersofamind，——

Noshapenbeauteousthoughts；yetwhenthewiseSeriouslystriphimofhiswilddisguise，Meltdownhisdross，refinehismassyore，Andpolishthatwhichseem'drough-castbefore，Searchhisdeepsense，unveilhishiddenmirth，Andmakethatfierywhichbeforeseem'dearth(Conqueringthosethingsofhighestconsequence，What'sdifficultoflanguageorofsense)，HewillappearsomenobletablewritIntheoldEgyptianhieroglyphicwit；

Where，thoughyoumonstersandgrotescoessee，Youmeetallmysteriesofphilosophy。

ForhewaswiseandsovereignlybredToknowwhatmankindis，how'tmaybeled:

Hestoop'duntothem，likethatwiseman，whoRidonastick，when'schildrenwoulddoso。

Forweareeasysullenthings，andmustBelaugh'daright，andcheatedintotrust；

Whilstablackpieceofphlegm，thatlaysaboutDullmenaces，andterrifiestherout，Andcajolesit，withallitspeevishstrengthPiteouslystretch'dandbotch'dupintolength，WhilstthetiredrabblesleepilyobeySuchopiatetalk，andsnoreawaytheday，Byallhisnoiseasmuchtheirmindsrelieves，Ascaterwaulingofwildcatsfrightsthieves。

ButRabelaiswasanotherthing，amanMadeupofallthatartandnaturecanFormfromafierygenius，——hewasoneWhosesoulsouniversallywasthrownThroughalltheartsoflife，whounderstoodEachstratagembywhichwestrayfromgood；

Sothathebestmightsolidvirtueteach，Assome'gainstsinsoftheirownbosomspreach:

Hefromwisechoicedidthetruemeansprefer，Infool'scoatactingth'philosopher。

ThushoaryAesop'sbeastsdidmildlytameFierceman，andmoralizehimintoshame；

Thusbraveromances，whiletheyseemtolayGreattrainsoflust，platoniclovedisplay；

ThuswouldoldSparta，ifaseldomchanceShow'dadrunkslave，teachchildrentemperance；

ThusdidthelaterpoetsnoblybringThescenetoheight，makingthefooltheking。

And，noblesir，youvigorouslyhavetrodInthishardpath，unknown，un-understoodByitsowncountrymen，'tisyouappearOurfullenjoymentwhichwasourdespair，Scatteringhismists，cheeringhiscynicfrowns(ForradiantbrightnessnowdarkRabelaiscrowns)，Leavingyourbraveheroiccares，whichmustMakebettermankindandembalmyourdust，Soundeceivingus，thatnowweseeAllwitinGasconandinCromarty，BesidesthatRabelaisisconvey'dtous，AndthatourScotlandisnotbarbarous。

J。DelaSalle。

Rablophila。

TheFirstDecade。

TheCommendation。

Musa！canasnostrorumintestimoniumAmorum，EtGargantueasperpetuatofaces，UtquehominitaliresultetnobilisEccho:

QuicquidFamacanit，Pantagrueliserit。

TheArgument。

HereIintendmysteriouslytosingWithapenpluck'dfromFame'sownwing，OfGargantuathatlearn'dbreech-wipingking。

DecadetheFirst。

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