Meanwhile, in prose, the productions of France were of much greater intrinsic importance. At the end of the fourteenth century the chatty chronicler, or historian, Froissart, had combined much of the _naïveté_ and freshness of Herodotus with much of the narrative picturesqueness of Walter Scott. A century later, under the growing influence of the new thought, the conception of history has grown almost philosophical, certainly practical and judicial, in Comines. The full effect of the Renaissance, however, appears in three sixteenth-century writers of very different characters and spheres of work. Amyot, the translator of Plutarch, is not merely famous for unlocking the treasure-house of that author to the French and thence to the English world; he also taught how the prose of the language should be written for biography or essay. Somewhat earlier—contemporary with Sir Thomas More—appears the learned, satirical, gross, jolly, pathetic priest, Rabelais, whose mock romance, the _Life of Gargantua and Pantagruel_, is still a classic to those who know how to discern, beneath all its terrible coarseness, its grotesque obscurity, and its deliberate buffoonery, the bold criticism, and wise as bold, of contemporary society, especially of religion and the church. In the freedom and range of his thought he embodies the Renaissance, but a Renaissance which has imparted vigour and freshness without having yet taught the lesson of literary form and proportion. Rabelais is like no one else, but he contains elements which recall the broader, comic side of Shakespeare, and others which anticipate the scathing railleries of Swift. Sterne, apart from his natural affinities with the earlier ecclesiastic, draws upon him liberally.