For with good right may he in the Greek tongue be called Pan, seeing that he is our All; all we are, all we live, all we have, all we hope, is him, in him, of him, by him. He is the good Pan, the great Shepherd.... at whose death were moanings, sighs, trepidations and lamentations in all the machine of the universe, heavens, earth, sea, hells. With this my interpretation the time agrees. For that most good, most great Pan, our only Savior, died at Jerusalem, reigning in Rome Tiberius Caesar.—Pantagruel, these words said, rested in silence and profound contemplation. A little while after we saw the tears rolling from his eyes, large as ostrich eggs. I give myself to God if I lie in a single word.” Notwithstanding the thrilling pathos of this close, and my deep reverence for Rabelais, with whom no commentator in holy orders known to me can be compared, except Dean Swift, I am inclined on this point to follow the ordinary opinion that Pan the great god whose death was thus miraculously announced was the Pan of the heathen Greeks. Christ had died, but only _pro tem_; had descended into Hell, but with a return ticket, and simply to harry that realm of Old Harry; in three days he had risen from the dead, in forty more ascended into Heaven; his reign had begun and the reign of the old gods was ended; the spirit was exalted ana the flesh brought low, this world and life were contemned for the life and world to come; Nature, the All, the great Pan, was annulled, and the Supernatural Nothing throned supreme. The poets have chanted this momentous revolution according to their religion, their phantasy, or their mood. Milton in his Hymn on the Nativity shouts harsh Puritanical scorn on the oracles stricken dumb, and the deities overthrown. Shelley in a magnificent chorus of “Hellas,” “Worlds on worlds are rolling ever,” contests not the justice of their doom, while in the final chorus he predicts the same doom for their conqueror in his turn, In our own day Mr. Swinburne in the “Hymn to Proserpine,” and elsewhere, has bewailed the dead immortals, with nothing but aversion and contempt for the pale Galilean, the “ghastly glories of saints, dead limbs of gibbeted gods.” Leopardi an early poem “To Spring,” beautiful but not of his deepest, regrets the banished divinities, and since the halls of Olympus are void, appeals to Nature to restore to his spirit its first fire, if she indeed lives. Schiller in his “Gods of Greece” passionately laments them; and Mrs. Browning more passionately answers him, crying, “God himself is the best Poet, and the Real is his song and the Real we accept perforce in its fulness, but discern not how it can derive from an unreal God. Novalis in his “Hymns to the Night” laments with Schiller the unsouling of Nature, “bound in iron chains by arid number and rigorous rule;” but goes on to celebrate the resurrection of Humanity in Christ. Heine in his. “Gods of Greece,” after declaring in