of Rabelais.' It is nothing but the truth, and Rabelais, who
does not hide it from himself, on more than one occasion mentions the name
of Merlin Coccaie.

Besides, Rabelais was fed on the Italians of his time as on the Greeks and
Romans. Panurge, who owes much to Cingar, is also not free from
obligations to the miscreant Margutte in the Morgante Maggiore of Pulci.
Had Rabelais in his mind the tale from the Florentine Chronicles, how in
the Savonarola riots, when the Piagnoni and the Arrabiati came to blows in
the church of the Dominican convent of San-Marco, Fra Pietro in the scuffle
broke the heads of the assailants with the bronze crucifix he had taken
from the altar? A well-handled cross could so readily be used as a weapon,
that probably it has served as such more than once, and other and even
quite modern instances might be quoted.

But other Italian sources are absolutely certain. There are few more
wonderful chapters in Rabelais than the one about the drinkers. It is not
a dialogue: those short exclamations exploding from every side, all
referring to the same thing, never repeating themselves, and yet always
varying the same theme. At the end of the Novelle of Gentile Sermini of
Siena, there is a chapter called Il Giuoco della pugna, the Game of Battle.
Here are the first lines of it: 'Apre, apre, apre. Chi gioca, chi gioca
--uh, uh!--A Porrione, a Porrione.--Viela, viela; date a ognuno.--Alle
mantella, alle mantella.--Oltre di corsa; non vi fermate.--Voltate qui;
ecco costoro; fate veli innanzi.--Viela, viela; date costi.--Chi la fa?
Io--Ed io.--Dagli; ah, ah, buona fu.--Or cosi; alla mascella, al fianco.
--Dagli basso; di punta, di punta.--Ah, ah, buon gioco, buon gioco.'

And thus it goes on with fire and animation for pages. Rabelais probably
translated or directly imitated it. He changed the scene; there was no
giuooco della pugna in France. He transferred to a drinking-bout this
clatter of exclamations which go off by themselves, which cross each other
and get no answer. He made a wonderful thing of it. But though he did not
copy Sermini, yet Sermini's work provided him with the form of the subject,
and was the theme for Rabelais' marvellous variations.

Who does not remember the fantastic quarrel of the cook with the poor devil
who had flavoured his dry bread with the smoke of the roast, and the
judgment of Seyny John, truly worthy of Solomon? It comes from the Cento
Novelle Antiche, rew