The good people who read Virgil, or the “Provincial Letters,” do not know that there are twenty times more copies of the “Almanac of Liège” and of the “_Courier Boiteux_” printed than of all the ancient and modern books together. No one can have a greater admiration than myself for the illustrious authors of these almanacs and their brethren. I know that ever since the time of the ancient Chaldæans there have been fixed and stated days for taking physic, paring our nails, giving battle, and cleaving wood. I know that the best part of the revenue of an illustrious academy consists in the sale of these almanacs. May I presume to ask, with all possible submission and a becoming diffidence of my own judgment, what harm it would do to the world if some powerful astrologer were to assure the peasants and the good inhabitants of little villages that they might safely pare their nails when they please, provided it be done with a good intention? The people, I shall be told, would not buy the almanacs of this new astrologer. On the contrary, I will venture to affirm that there would be found among your great geniuses many who would make a merit in following this novelty. Should it be alleged, however, that these geniuses, in their new-born zeal, would form factions and kindle a civil war, I would have nothing further to say on the subject, but readily give up for the sake of peace my too radical and dangerous opinion. Everybody knows the king of Boutan. He is one of the greatest princes in the universe. He tramples under his feet the thrones of the earth, and his shoes (if he has any) are provided with sceptres instead of buckles. He adores the devil, as is well known, and his example is followed by all his courtiers. He one day sent for a famous sculptor of my country and ordered him to make a beautiful statue of Beelzebub. The sculptor succeeded admirably. Never before was there seen such an interesting and handsome devil. But, unhappily, our Praxiteles had only given five clutches to his statue, whereas the devout Boutaniers always gave him six. This serious blunder of the artist was attributed by the grand master of ceremonies to the devil with all the zeal of a man justly jealous of his master’s acknowledged rights, and also of the established and sacred customs of the kingdom of Boutan. He insisted that the sculptor should be punished for his thoughtless innovation, by the loss of his head. The anxious sculptor explained that his five clutches were exactly equal in weight to six ordinary clutches; and the king of Boutan, who was a prince of great clemency, granted him a pardon. From that time the people of Boutan no longer believed the dogma relating to the devil’s six clutches.