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suppressions and additions. It would also be possible to reverse the
method. It would be interesting to take his first text as the basis,
noting the later modifications. This would be quite as instructive and
really worth doing. Perhaps one might then see more clearly with what care
he made his revisions, after what fashion he corrected, and especially what
were the additions he made.

No more striking instance can be quoted than the admirable chapter about
the shipwreck. It was not always so long as Rabelais made it in the end:
it was much shorter at first. As a rule, when an author recasts some
passage that he wishes to revise, he does so by rewriting the whole, or at
least by interpolating passages at one stroke, so to speak. Nothing of the
kind is seen here. Rabelais suppressed nothing, modified nothing; he did
not change his plan at all. What he did was to make insertions, to slip in
between two clauses a new one. He expressed his meaning in a lengthier
way, and the former clause is found in its integrity along with the
additional one, of which it forms, as it were, the warp. It was by this
method of touching up the smallest details, by making here and there such
little noticeable additions, that he succeeded in heightening the effect
without either change or loss. In the end it looks as if he had altered
nothing, added nothing new, as if it had always been so from the first, and
had never been meddled with.

The comparison is most instructive, showing us to what an extent Rabelais'
admirable style was due to conscious effort, care, and elaboration, a fact
which is generally too much overlooked, and how instead of leaving any
trace which would reveal toil and study, it has on the contrary a
marvellous cohesion, precision, and brilliancy. It was modelled and
remodelled, repaired, touched up, and yet it has all the appearance of
having been created at a single stroke, or of having been run like molten
wax into its final form.

Something should be said here of the sources from which Rabelais borrowed.
He was not the first in France to satirize the romances of chivalry. The
romance in verse by Baudouin de Sebourc, printed in recent years, was a
parody of the Chansons de Geste. In the Moniage Guillaume, and especially
in the Moniage Rainouart, in which there is a kind of giant, and
occasionally a comic giant, there are situations and scenes which remind us
of Rabelais. The kind of Fabliaux in mono-rhyme quatrains of the old
Aubery anticipate his coarse and popular jests. But all that is beside the
question; Rabelais did not know these. Nothing is of direct interest save
what was known to him, what fell under his eyes, what lay to his hand--as
the Facetiae of Poggio, and the last sermonnaires. In the course of one's
reading one may often enough come across the origin of some of Rabelais'
witticisms; here and there we may discover how he has developed a
situation. While gathering his materials wherever he could find them, he

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