places, in the eternal world of ideas. . . Let us never forget that the essence of the book ('Pantagruel') is in its splendid celebration of ecstasy, under the figure of the Vine."
At this point Mr. Machen places the "key" in our hands and declines further to reveal his secrets. In Mr. Pickwick's overdose of milk punch we are to find, ultimately, "a clue to the labyrinth of mystic theology."
By his own test we are enabled to place Arthur Machen's greatest works on the shelf with "Don Quixote" and "Pantagruel"; by his own test we find the ecstasy of which he speaks in his own pages, under the symbol of the Vine, and under figures even more beautiful and terrible. For minor consideration he finds in Rabelais another symbolism of ecstasy:
"The shape of gauloiserie, of gross, exuberant gaiety, expressing itself by outrageous tales, outrageous words, by a very cataract of obscenity, if you please, if only you will notice how the obscenity of Rabelais transcends the obscenity of common life; his grossness is poured out in a sort of mad torrent, in a frenzy, a very passion of the unspeakable."
