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 think that Coleridge, using the technical language of German philosophy, had a glimpse of the truth, and Mr Besant's remark that Panurge is a careful portrait of a man without a soul is virtually the same definition in another terminology. As I have already said, I don't think that Rabelais kept his characters within the strict limits of consistence—they are only significant, perhaps, now and then—and I want to say, again, that I speak under correction in this matter, not feeling at all sure of my ground. But I am inclined to think that Pantagruel, Panurge, and the Monk are not so much three different characters, as the representative of man in his three persons. Frère Jean is, perhaps, the natural man, the "healthy animal," Panurge is the rational man, and Pantagruel, as I said, is the spiritual, or perfect man, who looms, gigantic, in the background, almost invisible, and yet all important, and the three are, in reality, One. If I may apply the case to our own subject, I may say that while Pantagruel conceives the idea, Panurge writes the book, and Brother John has the courage to take it to the publishers. The first is the artist, the second the artificer, and the third the social being, ready to battle for his place in the