The Naturalist It is a matter of discussion as to who instituted the Natural ist theatre. The works are no longer poetical melodramas but according to Emile Augier and Dumas the younger consist of a minute and merciless study of the bourgeois class strug gling against the prejudices and barriers formed by caste. It is the aristocrat unmasked, the rehabilitation of the courtesan, the effervescence of the under world. It is a theatre somewhat poor inasmuch as it depicts uniquely an epoch and not humanity. It contains however many cleverly devised scenes and carefully handled situations. Sardou was likewise an adept in creating theatrical sensations, while his really clever historical adaptations amuse without greatly affecting us. He was the. popular en tertainer of the epoch for which we are grateful to him as well as to Scribe who provided the century with mirthful comedies which are al ways acceptable.
The Parnassian The Parnas sians had two great representatives for their theatre: Henri de Bornier with (Fille de Ro land' and Edmond Rostand, an imitator of Hugo on a less pretentious scale and de Ban ville with less taste. He wrote the word finis to the romanticism-parnassian school, his enor mous success de Bergerac) supplying the °last rocket of the great firework display" of the century. Miguel Zamacois and Rene Fauchois, Jacques Richepin, Andre Rivoire, Francis de Croinet follow and gather here and there a few sheaves dropped by these two gleaners.
We are now fast approach ing our own days. Many of the writers cited hereafter are still alive playing an active part in literature while others have but recently died. The tree has grown and its branches have ramified losing their vigor. The schools are less determined, the parties less opposed. Effort has been made to classify them with as much clearness as possible by making the most representative names stand out from the long list at our choice. Let us begin with the Neo Realists, direct followers of the Naturalists. Arriving on the scene at a time when the latter were beginning to lose their novelty they modi fied their formula. We find amongst this group Octave Mirabeau, passionately fond of art like the de Goncourts; he is the celebrated author of (Calvaire,' Jules,' 'Journal d'une femme de chambre> and (Jardin des sup plices' which allies him to Huysmans,— raison thrope and terse,— a really remarkable writer. Next is Rosny with prehistoric evocations, both romantic and scientific —a very interestin figure. Edouard Rodzuise of a loyal bourgeois instinct and strongly ideas was a clever novelist. Paul Marguerite was less original but more representative of his epoch. He was' bold enough to write De sastre,> an avowed detailed and circumstantial work of defeat which, with Zola's 'Debacle,' make the most humiliating confession of French national faults and their ransoip. As a relief from these gloomy forebodings it is a pleasure to turn to Abel Hermant the large-minded Parisian with a sense of keen observation and a bantering disposition. Rightly and soundly does he tear the mask from that cosmopolitan ism pedantism and all those tending to inflate bombastically society in general. His is the true French mind, his language the lan guage of the Gauls. Franc-Nohain, more ec centric, more chimerical, is also agreeable to us for similar reasons of bantering and jest ing, if at times he is a little spiteful. Assur edly less easily read but of wider scope is Paul Adam. Aristocrat, with an exuberant mind, learned and laborious he possesses a style emi nently personal and evocative. His elliptical turns, powerful epitomes and delightful choice of words all combine to make a descriptive whole of the highest quality. He handles the crowd and raises above it self-willed figures of a moral and lofty mind pregnant with high ideals and of comforting solace. He wanted to comprise the entire earth in his works: he has shown us the Byzantine world, the American world, the African world, the Napoleonic epopee. But he reduces with )justness all things to the unity of that thought and sentiment which guides humanity in its perpetual transi tion. His works are sublime containing some of the finest passages of literature of our epoch. Pau! Adam is the chronicler of the modern worlds, Maurice Maindron the episodic historian of the ancient. His preference is for the 16th century. 'Saint Cendre> and cador) are imperishable types of intrepid ad venturers who move in surroundings which only a connoisseur and consummate artist could choose.
The Psychological The authors of this school display a realism actuating in a superior domain : that of the soul. The fore most place is held by Anatole France. Posses sor of a refined mind, an erudite, a charmer, an ardent if discreet bibliophile, we wander with him from Alexandria to the Rue Saint Jacques, from Paris to Florence. He believes in nothing and takes umbrage at everything, but pleasingly so. He carries on. so to speak, the work of Voltaire, Montaigne and Renan. Jules Le maitre in his criticisms displays a similar state of mind, not forgetting that he was once a poet. His sharp raillery, keen sense of justice and consummate tact make of him a discreet judge who leads us gently into the confines of the soul. Paul Hervieu has drunk at the same source. An analyst of abstract problems, a mor bidezza intellectual, the qualities of penetration and finesse of which temper the portrayal of the elegances and distinction of Parisian society. Amiel alone is recognized by us as a man of letters; his unique book is his 'Journal> a monumental and analytical work redoubtable in its confession of daily impotence. Nothing makes more poignant reading than this, nothing more invigorating by reaction. In addition to this he possessed a sure and incisive style which tend to render even more precious the psycho logical discoveries practised on his own mind. Maurice Barres is our great • living writer. Moral artist, man of action, he combines two distinct minds. Far from deploring this he re joices in it using it to his advantage. Ironical be was the witness of our anarchy, irritable and intriguing he endeavors above all to improve his mind. Is he an egoist? Rather an egotist. The egoist's dictum is self, its primary and sole aim. The egotist's dictum is also self, but as a field of experience. It is the sounding of one's nature until one has discovered the inexhausti ble well for sustenance. Barres is a disciple of Chateaubriand, inheriting from him the mania of frequenting exclusive circles for the better playing of an active part in great events. He has inherited also his indeterminate reveries, his pointed pungency as a portrait painter, his sense of religion which is more esthetic than moral. The charm of his style may lie in the fact that it is slightly more vigorous than Chiteaubriand's and brisker. He is like unto music. To him we are indebted for an awaken ing of energy and action. He influenced multi tudes toward a spirit of activity, to accom plish something, to assert self. His style is the antithesis of that of Madame de Stiel. She opened the doors to foreign influence—he closed them. To him we owe those tong unsel fish poems 'Du sang de la volupte, de la mom) where in harmonious stanzas he analyzes the fragrance of the Lombardian gardens, the autumnal seasons of Parme,. Grenada, Venice. Let us retain his advice, so rich in thought Chactin dolt cultiver son souvenir.' Charles Maurras is his political parent. Writer on a less grandiose scale he likewise besought his disciples to a revival of tradition, of energy and high spiritedness. His role was immense and we can appreciate to-day at its value the debt we owe him. Leon Daudet is his Seid. He touches on realism through his works which are more directly living. But idealogical he is more addicted to political proselytism. Paul Bourget is less conspicuous and more bourgeois. He is the woman's novelist, whom he endeavors to flatter in the matter of gossip. He interests himself in lost causes. He seeks, and what is more strange discovers, a set of rules govern ing life for the use of the Countess and Mar quess. He, is extraordinarily popular with a certain class of readers. Of a similar style is Marcel Prevost who specializes in the study of the eternal feminine. Of a lighter vein, how ever, and with no pretense at bragging, he al leviates the science of the heart by ingenious intrigues which are highly captivating. Andre Beaunier, a pupil of the normal school, the im pression of which he has not been•able to shake off, possesses none the less a curious mind, coupled with an incisive style, infinitely pleas ing if tortuous. Romain-Rolland is the author of 'Jean Christophe.' He has set the reader a heavy task; the style is heavy and it becomes quite an undertaking to distinguish the ridicu lous from the sublime. Lucien Muehfeld died too prematurely. His mind was full of promise added to a subtle and gentle style.