GARGANTUA AND PANTAGRUEL
by Franηois Rabelais Copyright note
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Chapter 5.XXVI.--How we came to the island of Odes, where the ways go up
and down
Chapter 5.XXVII.--How we came to the island of Sandals; and of the order of
Semiquaver Friars
Chapter 5.XXVIII.--How Panurge asked a Semiquaver Friar many questions, and
was only answered in monosyllables
Chapter 5.XXIX.--How Epistemon disliked the institution of Lent
Chapter 5.XXX.--How we came to the land of Satin
Chapter 5.XXXI.--How in the land of Satin we saw Hearsay, who kept a school
of vouching
Chapter 5.XXXII.--How we came in sight of Lantern-land
Chapter 5.XXXIII.--How we landed at the port of the Lychnobii, and came to
Lantern-land
Chapter 5.XXXIV.--How we arrived at the Oracle of the Bottle
Chapter 5.XXXV.--How we went underground to come to the Temple of the Holy
Bottle, and how Chinon is the oldest city in the world
Chapter 5.XXXVI.--How we went down the tetradic steps, and of Panurge's
fear
Chapter 5.XXXVII.--How the temple gates in a wonderful manner opened of
themselves
Chapter 5.XXXVIII.--Of the temple's admirable pavement
Chapter 5.XXXIX.--How we saw Bacchus's army drawn up in battalia in mosaic
work
Chapter 5.XL.--How the battle in which the good Bacchus overthrew the
Indians was represented in mosaic work
Chapter 5.XLI.--How the temple was illuminated with a wonderful lamp
Chapter 5.XLII.--How the Priestess Bacbuc showed us a fantastic fountain in
the temple, and how the fountain-water had the taste of wine, according to
the imagination of those who drank of it
Chapter 5.XLIII.--How the Priestess Bacbuc equipped Panurge in order to
have the word of the Bottle
Chapter 5.XLIV.--How Bacbuc, the high-priestess, brought Panurge before the
Holy Bottle
Chapter 5.XLV.--How Bacbuc explained the word of the Goddess-Bottle
Chapter 5.XLVI.--How Panurge and the rest rhymed with poetic fury
Chapter 5.XLVII.--How we took our leave of Bacbuc, and left the Oracle of
the Holy Bottle
Introduction.
Had Rabelais never written his strange and marvellous romance, no one would
ever have imagined the possibility of its production. It stands outside
other things--a mixture of mad mirth and gravity, of folly and reason, of
childishness and grandeur, of the commonplace and the out-of-the-way, of
popular verve and polished humanism, of mother-wit and learning, of
baseness and nobility, of personalities and broad generalization, of the
comic and the serious, of the impossible and the familiar. Throughout the
whole there is such a force of life and thought, such a power of good
sense, a kind of assurance so authoritative, that he takes rank with the
greatest; and his peers are not many. You may like him or not, may attack
him or sing his praises, but you cannot ignore him. He is of those that
die hard. Be as fastidious as you will; make up your mind to recognize
only those who are, without any manner of doubt, beyond and above all
others; however few the names you keep, Rabelais' will always remain.
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