uhart's
papers. The success which attended this venture suggested to Motteux the
idea of completing the work, and a second edition, in two volumes, appeared
in 1708, with the translation of the fourth and fifth books, and notes.
Nineteen years after his death, John Ozell, translator on a large scale of
French, Italian, and Spanish authors, revised Motteux's edition, which he
published in five volumes in 1737, adding Le Duchat's notes; and this
version has often been reprinted since.

The continuation by Motteux, who was also the translator of Don Quixote,
has merits of its own. It is precise, elegant, and very faithful.
Urquhart's, without taking liberties with Rabelais like Fischart, is not
always so closely literal and exact. Nevertheless, it is much superior to
Motteux's. If Urquhart does not constantly adhere to the form of the
expression, if he makes a few slight additions, not only has he an
understanding of the original, but he feels it, and renders the sense with
a force and a vivacity full of warmth and brilliancy. His own learning
made the comprehension of the work easy to him, and his anglicization of
words fabricated by Rabelais is particularly successful. The necessity of
keeping to his text prevented his indulgence in the convolutions and
divagations dictated by his exuberant fancy when writing on his own
account. His style, always full of life and vigour, is here balanced,
lucid, and picturesque. Never elsewhere did he write so well. And thus
the translation reproduces the very accent of the original, besides
possessing a very remarkable character of its own. Such a literary tone
and such literary qualities are rarely found in a translation. Urquhart's,
very useful for the interpretation of obscure passages, may, and indeed
should be read as a whole, both for Rabelais and for its own merits.

Holland, too, possesses a translation of Rabelais. They knew French in
that country in the seventeenth century better than they do to-day, and
there Rabelais' works were reprinted when no editions were appearing in
France. This Dutch translation was published at Amsterdam in 1682, by J.
Tenhoorn. The name attached to it, Claudio Gallitalo (Claudius
French-Italian) must certainly be a pseudonym. Only a Dutch scholar could
identify the translator, and state the value to be assigned to his work.

Rabelais' style has many different sources. Besides its force and
brilliancy, its gaiety, wit, and dignity,