observed also in passing, that there are several pages of such audacious
plain-speaking, that Rabelais, though he did not copy these in his Marriage
of Panurge, has there been, in his own fashion, as out spoken as Tiraqueau.
If such freedom of language could be permitted in a grave treatise of law,
similar liberties were certainly, in the same century, more natural in a
book which was meant to amuse.

The great reproach always brought against Rabelais is not the want of
reserve of his language merely, but his occasional studied coarseness,
which is enough to spoil his whole work, and which lowers its value. La
Bruyere, in the chapter Des ouvrages de l'esprit, not in the first edition
of the Caracteres, but in the fifth, that is to say in 1690, at the end of
the great century, gives us on this subject his own opinion and that of his
age:

'Marot and Rabelais are inexcusable in their habit of scattering filth
about their writings. Both of them had genius enough and wit enough to do
without any such expedient, even for the amusement of those persons who
look more to the laugh to be got out of a book than to what is admirable in
it. Rabelais especially is incomprehensible. His book is an enigma,--one
may say inexplicable. It is a Chimera; it is like the face of a lovely
woman with the feet and the tail of a reptile, or of some creature still
more loathsome. It is a monstrous confusion of fine and rare morality with
filthy corruption. Where it is bad, it goes beyond the worst; it is the
delight of the basest of men. Where it is good, it reaches the exquisite,
the very best; it ministers to the most delicate tastes.'

Putting aside the rather slight connection established between two men of
whom one is of very little importance compared with the other, this is
otherwise very admirably said, and the judgment is a very just one, except