spired one of his finest pages. One sees,
therefore, how varied were the sources whence he drew, and how many of them
must probably always escape us.

When, as has been done for Moliere, a critical bibliography of the works
relating to Rabelais is drawn up--which, by the bye, will entail a very
great amount of labour--the easiest part will certainly be the bibliography
of the old editions. That is the section that has been most satisfactorily
and most completely worked out. M. Brunet said the last word on the
subject in his Researches in 1852, and in the important article in the
fifth edition of his Manuel du Libraire (iv., 1863, pp. 1037-1071).

The facts about the fifth book cannot be summed up briefly. It was printed
as a whole at first, without the name of the place, in 1564, and next year
at Lyons by Jean Martin. It has given, and even still gives rise to two
contradictory opinions. Is it Rabelais' or not?

First of all, if he had left it complete, would sixteen years have gone by
before it was printed? Then, does it bear evident marks of his
workmanship? Is the hand of the master visible throughout? Antoine Du
Verdier in the 1605 edition of his Prosopographie writes: '(Rabelais')
misfortune has been that everybody has wished to "pantagruelize!" and
several books have appeared under his name, and have been added to his
works, which are not by him, as, for instance, l'Ile Sonnante, written by a
certain scholar of Valence and others.'

The scholar of Valence might be Guillaume des Autels, to whom with more
certainty can be ascribed the authorship of a dull imitation of Rabelais,
the History of Fanfreluche and Gaudichon, published in 1578, which, to say
the least of it, is very much inferior to the fifth book.

Louis Guyon, in his Diverses Lecons, is still more positive: 'As to the
last book which has been included in his works, entitled l'Ile Sonnante,
the object of which seems to be to find fault with and laugh at the members
and the authorities of the Catholic Church, I protest that he did not
compose it, for it was written long after his death. I was at Paris when
it was written, and I know quite well who was its author; he was not a
doctor.' That is very emphatic, and it is impossible to ignore it.

Yet everyone must recognize that there is a great deal of Rabelais in the
fifth book. He must have planned it and begun it. Remembering that in
1548 he had published, not as an experiment, but rather