rs of the fourth book, we may conclude
that the first sixteen chapters of the fifth book published by themselves
nine years after his death, in 1562, represent the remainder of his
definitely finished work. This is the more certain because these first
chapters, which contain the Apologue of the Horse and the Ass and the
terrible Furred Law-cats, are markedly better than what follows them. They
are not the only ones where the master's hand may be traced, but they are
the only ones where no other hand could possibly have interfered.

In the remainder the sentiment is distinctly Protestant. Rabelais was much
struck by the vices of the clergy and did not spare them. Whether we are
unable to forgive his criticisms because they were conceived in a spirit of
raillery, or whether, on the other hand, we feel admiration for him on this
point, yet Rabelais was not in the least a sectary. If he strongly desired
a moral reform, indirectly pointing out the need of it in his mocking
fashion, he was not favourable to a political reform. Those who would make
of him a Protestant altogether forget that the Protestants of his time were
not for him, but against him. Henri Estienne, for instance, Ramus,
Theodore de Beze, and especially Calvin, should know how he was to be
regarded. Rabelais belonged to what may be called the early reformation,
to that band of honest men in the beginning of the sixteenth century,
precursors of the later one perhaps, but, like Erasmus, between the two
extremes. He was neither Lutheran nor Calvinist, neither German nor
Genevese, and it is quite natural that his work was not reprinted in
Switzerland, which would certainly have happened had the Protestants looked
on him as one of themselves.

That Rabelais collected the materials for the fifth book, had begun it, and
got on some way, there can be no doubt: the excellence of a large number
of passages prove it, but--taken as a whole--the fifth book has not the
value, the verve, and the variety of the others. The style is quite
different, less rich, briefer, less elaborate, drier, in parts even
wearisome. In the first four books Rabelais seldom repeats himself. The
fifth book contains from the point of view of the vocabulary really the
least novelty. On the contrary, it is full of words and expressions
already met with, which is very natural in an imitation, in a copy, forced
to keep to a similar tone, and to show by such reminders and likenesses
that