Like him, he goes to Paris, and there meets with Panurge, the principal triumph of Rabelaisian characterdrawing, and the most original as well as puzzling figure of the book.
Panurge has almost all intellectual accomplishments, but is totally devoid of morality: he is a coward, a drunkard, a lecher, a spiteful trickster, a spendthrift, but all the while infinitely amusing.
This arises from Panurge's determination to marry - a determination, however, which is very half-hearted, and which leads him to consult a vast number of authorities, each giving occasion for satire of a more or less complicated kind.
Panurge takes this as a sanction of his marriage, and the book ends abruptly.
Those who in the same way identify Rabelais with Panurge can never explain the education scheme, the solemn apparition of Gargantua among the farcical and fantastic variations on Panurge's wedding, and many other passages; while, on the other hand, those who insist on a definite propaganda of any kind must justify themselves by their own power of seeing things invisible to plain men.
Publications include Critical quarterly, Panurge, Stand, and Neonlit: The Time Out Book of New Writing Vol.1.
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