first only in a bare and summary fashion. It would have been taken up
again, expanded, developed, metamorphosed. That is possible, and, for my
part, I am of those who, like Brunet and Nodier, are inclined to think that
the Chronique, in spite of its inferiority, is really a first attempt,
condemned as soon as the idea was conceived in another form. As its
earlier date is incontestable, we must conclude that if the Chronique is
not by him, his Gargantua and its continuation would not have existed
without it. This would be a great obligation to stand under to some
unknown author, and in that case it is astonishing that his enemies did not
reproach him during his lifetime with being merely an imitator and a
plagiarist. So there are reasons for and against his authorship of it, and
it would be dangerous to make too bold an assertion.

One fact which is absolutely certain and beyond all controversy, is that
Rabelais owed much to one of his contemporaries, an Italian, to the
Histoire Macaronique of Merlin Coccaie. Its author, Theophilus Folengo,
who was also a monk, was born in 1491, and died only a short time before
Rabelais, in 1544. But his burlesque poem was published in 1517. It was
in Latin verse, written in an elaborately fabricated style. It is not dog
Latin, but Latin ingeniously italianized, or rather Italian, even Mantuan,
latinized. The contrast between the modern form of the word and its Roman
garb produces the most amusing effect. In the original it is sometimes
difficult to read, for Folengo has no objection to using the most
colloquial words and phrases.

The subject is quite different. It is the adventures of Baldo, son of Guy
de Montauban, the very lively history of his youth, his trial, imprisonment
and deliverance, his journey in search of his father, during which he
visits the Planets and Hell. The narration is constantly interrupted by
incidental adventures. Occasionally they are what would be called to-day