this perfection at a
first attempt. He must have worked long at the task, revised it again and
again, corrected much, and added rather than cut away. The aptness of form
and expression has been arrived at by deliberate means, and owes nothing to
chance. Apart from the toning down of certain bold passages, to soften
their effect, and appease the storm--for these were not literary
alterations, but were imposed on him by prudence--one can see how numerous
are the variations in his text, how necessary it is to take account of
them, and to collect them. A good edition, of course, would make no
attempt at amalgamating these. That would give a false impression and end
in confusion; but it should note them all, and show them all, not combined,
but simply as variations.

After Le Duchat, all the editions, in their care that nothing should be
lost, made the mistake of collecting and placing side by side things which
had no connection with each other, which had even been substituted for each
other. The result was a fabricated text, full of contradictions naturally.
But since the edition issued by M. Jannet, the well-known publisher of the
Bibliotheque Elzevirienne, who was the first to get rid of this patchwork,
this mosaic, Rabelais' latest text has been given, accompanied by all the
earlier variations, to show the changes he made, as well as his
suppressions and additions. It would also be possible to reverse the
method. It would be interesting to take his first text as the basis,
noting the later modifications. This would be quite as instructive and
really worth doing. Perhaps one might then see more clearly with what care
he made his revisions, after what fashion he corrected, and especially what
were the additions he made.

No more striking instance can be quoted than the admirable chapter about
the shipwreck. It was not always so long as Rabelais made it in the end:
it was much shorter at first. As a rule, when an author recasts some
passage that he wishes to revise, he does so by rewriting the whole, or at
least by interpolating passages at one stroke, so to speak. Nothing of the
kind is seen here. Rabelais suppressed nothing, modified nothing; he did
not change his plan at all. What he did was to make insertions, to slip in
between two clauses a new one. He expressed his meaning in a lengthier
way, and the former clause is found in its integrity along with the
additional one, of which it forms, as it were,