task to popularize Brantôme. By common agreement we speak of the esprit français as distinguished from the esprit gaulois, the latter term being used to denote a something more frank and outspoken. I heartily wish the division were a true one; for I can never forget I belong to this mighty Nineteenth Century. But for my own part, on a careful consideration of the facts, I should make a triple rather than a twofold classification. There would be the esprit gaulois, the esprit français, not the spirit of the age one atom, I must be allowed to observe, and thirdly a certain spirit of curling-irons and kid gloves and varnished boots, a sort of bastard, a cross between French and English, equally shocked at Tristram Shandy and the Physiologie du Mariage as coarse and immoral productions. This is our spirit, if spirit we have.
The two first types have a real and positive value; but the third is the sole and only one nowadays permitted or current as legal tender,—the others are much too outspoken. Well! I will hold my tongue, and mind my own business. An epoch is a mighty ugly customer to come to blows with. I remember Him of Galilee.
The genius of Rabelais was all instinct with this same esprit gaulois—a big, bold, virile spirit, breaking out in resounding guffaws, and crude, outspoken verities, equally unable and unwilling to soften down or gloss over anything, innocent of every species of periphrasis and affectation. It is genius in a merry mood rising above the petty conventionalities of speech,—often reminding us of Molière under like circumstances. Let fools be shocked, if they please; sensible men are ashamed only in presence of positive immorality and deliberate
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