Page:Hieroglyphics.pdf/127

 I do not know whether you have read any of our English commentators on Rabelais, if not, I would not advise you to do so, unless you take pleasure in futility. For instance they take the passage from the prologue, and seeing the hint that something is concealed, try by some complicated chain of argument to show that Rabelais veiled his attacks on the Church under a mask of "wild buffoonery." Of course the attacks on the Church (the "secondary" and comparatively unimportant element in the book, fairly answering to the attacks on books of Chivalry in the Don Quixote) are as open as any attack can well be, and anyone who finds a veil drawn between Rabelais' dislike for the clergy and his expression of it must have a very singular notion of what constitutes concealment, and a still more singular misapprehension of the motive-forces which make and shape great books. Art, you may feel quite assured, proceeds always from love and rapture, never from hatred and disdain, and satire of every kind qua satire is eternally condemned to that Gehenna where the pamphlets, the "literature of the subject," and the "life-like" books lie all together. In "Don Quixote" one perceives that Cervantes loved the romances he