written, printed, and read. The collection of songs formed by Clairambault
shows that the seventeenth and eighteenth centuries were no purer than the
sixteenth. Some of the most ribald songs are actually the work of
Princesses of the royal House.

It is, therefore, altogether unjust to make Rabelais the scapegoat, to
charge him alone with the sins of everybody else. He spoke as those of his
time used to speak; when amusing them he used their language to make
himself understood, and to slip in his asides, which without this sauce
would never have been accepted, would have found neither eyes nor ears.
Let us blame not him, therefore, but the manners of his time.

Besides, his gaiety, however coarse it may appear to us--and how rare a
thing is gaiety!--has, after all, nothing unwholesome about it; and this is
too often overlooked. Where does he tempt one to stray from duty? Where,
even indirectly, does he give pernicious advice? Whom has he led to evil
ways? Does he ever inspire feelings that breed misconduct and vice, or is
he ever the apologist of these? Many poets and romance writers, under
cover of a fastidious style, without one coarse expression, have been
really and actively hurtful; and of that it is impossible to accuse
Rabelais. Women in particular quickly revolt from him, and turn away
repulsed at once by the archaic form of the language and by the
outspokenness of the words. But if he be read aloud to them, omitting the
rougher parts and modernizing the pronunciation, it will be seen that they
too are impressed by his lively wit as by the loftiness of his thought. It
would be possible, too, to extract, for young persons, without
modification, admirable passages of incomparable force. But those who have
brought out expurgated editions of him, or who have thought to improve him
by trying to rewrite him in modern French, have been fools for their pains,
and their insulting attempts have had, and always will have, the success