and, though sufficiently free, they present less than most similar books of that period of the coarseness of Rabelais. I cannot say the same of a book which is much more celebrated than either of these, and the history of which is still enveloped in obscurity. I mean the "Moyen de Parvenir." This book, which is full of wit and humour, but the licentiousness of which is carried to a degree which renders it unreadable at the present day, is now ascribed by bibliographers, in its present form, to Béroalde de Verville, a gentleman of a Protestant family who had embraced Catholicism, and obtained advancements in the church, and it was not printed until 1610, but it is supposed that in its present form it is only a revision of an earlier composition, perhaps even an unacknowledged work of Rabelais himself, which had been preserved in manuscript in Beroald's family. Pantagruelism, or, if you like, Rabelaism, did not, during the sixteenth century, make much progress beyond the limits of France. In the Teutonic countries of Europe, and in England, the sceptical sentiment was small in comparison with the religious feeling, and the only satirical work at all resembling those we have been describing, was the "Utopia" of Sir Thomas More, a work comparatively spiritless, and which produced a very slight sensation. In Spain, the state of social feeling was still less favourable to the writings of Rabelais, yet he had there a worthy and true representative in the author of Don Quixote. It was only in the seventeenth century that the works of Rabelais were translated into English; but we must not forget that our satirists of the last century, such as Swift and Sterne, derived their inspiration chiefly from Rabelais, and from the Pantagruelistic writers of the latter half of the sixteenth century. These latter were most of them poor imitators of their original, and, like all poor imitators, pursued to exaggeration his least worthy characteristics. There is still some humour in the writings of Tabourot, the sieur des Accords, especially in his "Bigarrures," but the later productions, which appeared under such names as Bruscambille and Tabarin, sink into mere dull ribaldry.