misfortune has been that everybody has wished to "pantagruelize!" and
several books have appeared under his name, and have been added to his
works, which are not by him, as, for instance, l'Ile Sonnante, written by a
certain scholar of Valence and others.'

The scholar of Valence might be Guillaume des Autels, to whom with more
certainty can be ascribed the authorship of a dull imitation of Rabelais,
the History of Fanfreluche and Gaudichon, published in 1578, which, to say
the least of it, is very much inferior to the fifth book.

Louis Guyon, in his Diverses Lecons, is still more positive: 'As to the
last book which has been included in his works, entitled l'Ile Sonnante,
the object of which seems to be to find fault with and laugh at the members
and the authorities of the Catholic Church, I protest that he did not
compose it, for it was written long after his death. I was at Paris when
it was written, and I know quite well who was its author; he was not a
doctor.' That is very emphatic, and it is impossible to ignore it.

Yet everyone must recognize that there is a great deal of Rabelais in the
fifth book. He must have planned it and begun it. Remembering that in
1548 he had published, not as an experiment, but rather as a bait and as an
announcement, the first eleven chapters of the fourth book, we may conclude
that the first sixteen chapters of the fifth book published by themselves
nine years after his death, in 1562, represent the remainder of his
definitely finished work. This is the more certain because these first
chapters, which contain the Apologue of the Horse and the Ass and the
terrible Furred Law-cats, are markedly better than what follows them. They
are not the only ones where the master's hand may be traced, but they are
the only ones where no other hand could possibly have interfered.