By Steve Birdsall, Don Greer
An illustrated background of the B-29 Superfortress plane, and its position in international conflict II, that includes images supplied via the crews who fought and flew in those recognized planes.
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De couraige j’en ay pour plus de cinquante francs’ (P 316) [‘For courage, I have over fifty’s francs’ worth’ (Works 226)]. 17 ‘Pantagruel jectant ses yeulx au ciel se recommanda à Dieu de bien bon cueur, faisant veu tel comme s’ensuyt…’ (P 317) [‘Pantagruel, raising his eyes to heaven, with all his heart commended himself to God, making a vow as follows:…’ (Works 226)]. Follows a long prayer. 18 As is pointed out in the title of chapter 25: ‘Comment Panurge, Carpalim […], compaignons de Pantagruel, desconfirent six cens soixante chevaliers bien subtilement’ [‘How Panurge, Carpalim […], Pantagruel’s companions, very subtle defeated six 15 16 pantagruel and gargantua as mock biographies 37 clemency are practiced in the treatment of the prisoners after the war— elements which are elaborated in Gargantua.
Mireille Huchon (ed, p. ) also points out Rabelais’s indebtedness to the Rhetorica ad Herennium. 27 Ironically, the Prologue to Gargantua is the most discussed part of Rabelais’s work. 28 Of this last aspect, Pernot cites the example of the conclusion of Lucian’s Imagines: ‘We will make a book out of it’. All this is to be found in the epilogue of Pantagruel, which forms the book’s final chapter (entitled ‘La conclusion du present livre et l’excuse de l’auteur’ [‘The conclusion of the present book, and the author’s excuse’]).
28 chapter one Qui engendra Hurtaly, qui fut beau mangeur de souppes, et regna au temps du deluge: Qui engendra Nembroth, Qui engendra Athlas, qui avecques ses espaulles garda le ciel de tumber (P 219) [And the first was Chalbrot, who begat Sarabroth, who begat Faribroth, who begat Hurtaly, who was a great downer of dips and ruled at the time of the Flood, who begat Nimrod, who begat Atlas, who by his shoulders kept the heavens from falling (Works 139)] And so forth. One notes the hyperbolic and burlesque treatment the theme of ‘antiquity’ undergoes.