As might have been expected, the translation is not marked by painful exactness of rendering. On the contrary, evidences of carelessness and inaccuracy are by no means uncommon, but yet the work is, as some one calls it, "one of the most perfect transfusions of an author from one language to another,[238] that ever man accomplished." The great merits of the translation consist in its preserving the very air and style of the original, and in the astonishing richness of vocabulary which it manifests. Where Rabelais invents a word, Sir Thomas invents one, or two, or three; and if the former has a list of twenty or thirty epithets, the latter has no hesitation in supplying his readers with forty or sixty, which seem quite as good as the original stock which he thus enlarges. Sometimes, too, as Mr W. F. Smith, a very distinguished student of Rabelais, remarks, "in translating a single word of the French he often empties all the synonyms given by Cotgrave into his version." Mr Tytler, in the above-quoted criticism on Urquhart's translation, speaks of the peculiarities of his style as "revelling through his pages with a licence and buoyancy which is quite unbridled, yet quite allowable." One is obliged to demur to the last adjective. A translator, like a compositor, should be under some obligation to adhere to the text before him; and, as a matter of fact, the success of Urquhart's version is occasionally interfered with by this same "unbridled revelling." The style of Rabelais is graphic and vigorous, and at times exceedingly graceful, and occupies a high place in French literature. Any tampering with it, therefore, in the way of alteration or addition, was not likely to be an improvement. But, even after all deductions are made, the praise bestowed upon Urquhart's work has been fully deserved. "The buoyancy and unembarrassed sweep of its general character," says Sir Theodore Martin, "which gives his Rabelais more the look of an original than of a translation, its rich and well-compacted diction, the many happy turns of phrase that are quite his own, have fairly earned for it the high estimation in which it has long been held. His task was one of extreme difficulty, and there have perhaps been few men besides himself that could have brought to it the world of omnigenous knowledge which it required. It was apparently Urquhart's ambition to realise in his own person the ideal of human accomplishment, to be at once 'Complete in feature and in mind, With all good grace to grace a gentleman.' He had left no source of information unexplored, few aspects of life unobserved, and, in the translation of Rabelais, he found full exercise for his multiform attainments. Ably as the work has been completed by Motteux, one cannot but regret that the worthy Knight of Cromarty had not spared him the task."[239]