most frequently used in a humorous sense, and nonsensically, with a quite
other meaning than their own; in the fifth they are applied correctly. It
was necessary to include such terms to keep up the practice, but the writer
has not thought of using them to add to the comic effect: one cannot
always think of everything. Trouble has been taken, of course, to include
enumerations, but there are much fewer fabricated and fantastic words. In
short, the hand of the maker is far from showing the same suppleness and
strength.

A eulogistic quatrain is signed Nature quite, which, it is generally
agreed, is an anagram of Jean Turquet. Did the adapter of the fifth book
sign his work in this indirect fashion? He might be of the Genevese family
to whom Louis Turquet and his son Theodore belonged, both well-known, and
both strong Protestants. The obscurity relating to this matter is far from
being cleared up, and perhaps never will be.

It fell to my lot--here, unfortunately, I am forced to speak of a personal
matter--to print for the first time the manuscript of the fifth book. At
first it was hoped it might be in Rabelais' own hand; afterwards that it
might be at least a copy of his unfinished work. The task was a difficult
one, for the writing, extremely flowing and rapid, is execrable, and most
difficult to decipher and to transcribe accurately. Besides, it often
happens in the sixteenth and the end of the fifteenth century, that
manuscripts are much less correct than the printed versions, even when they
have not been copied by clumsy and ignorant hands. In this case, it is the
writing of a clerk executed as quickly as possible. The farther it goes
the more incorrect it becomes, as if the writer were in haste to finish.

What is really the origin of it? It has less the appearance of notes or
fragments prepared by Rabelais than of a first attempt at revision. It is