Realist and Psychological Historians.— Following the order of our preceding classifi cation we will now name the historians of the two foregoing groups. Fustel de Coulanges with his (Cite Antique' and his curious political papers so opportunately republished at the present time; Ernest Lasisse with his remark ably clear 'History of France' ; Frederic Mas son, a specialist of the Napoleonic period; Gas ton Boissier, the evocator of the ancient times; Gerard LenOtre, anecdotal, not always truthful but highly captivating in hitherto unpublished episodes of history; Pierre Nolhac enamored with Versailles and its queen, and Madelin and Andre Fribourg the youngest and already au thorized specialists of the Revolution.
Symbolism.— We have now reached the last current which has shaken modern sensibil ity; its apparition however was not immediate. Like all modes of emotion and expression it is self-will that dominates mind and sensibility and conditions were not yet favorable for such a complete state. After all symbolism is merely the sign of a synthetic evolution of the race. Poesy is reminded that it once was song. Chateaubriand had announced it, Lamartine had proved it; it became necessary to formulate its rules. This musicality in the symbolists was but a tentative construction, a procedure, at most an obligation.. For symbolism is a labor, labor of an excess of phrases in a void of ac tivity. Reality deceives them, they break loose. They are impressed by Wagner, governed by Hegel. They are also influenced by the English pre-Raphaelites Burne-Jones, Watts and the poets Swinburne, Meredith and Tennyson. They looked for predecessors in the past mas ters, as for instance from the charming Maurice Sive of the 16th century objet de plus haute vertu."' Music is their friend, their demi god, their supreme goal. They are no longer concerned with the correct number of syllables but rather with the sonority of words and es pecially their individual rhythm. The greatest of the symbolists is unquestionably Villiers de Elsie Adam. He has recreated, for a time, the mind of the elite. His mind tempered with science touches on the abstract. Tourist and poet, he is the author of (Axel,' Tribunat Bonhommet,"Akedisseil' and (!'Eve future,' all written with the magnificent and sure pen of the master. He has created a type of woman both voluptuous and intellectual preceding those of his epoch and which lay the foundation of a superior feminism. Stephane Mallarme pos sesses an equally noble mind but is less brilliant in execution. He analyzes, punctuates and gives
a facet to all his words. He likes them for their possible sense rather than their true sense. Verlaine, in the mask of a Socrates, is one of the greatest of modern poets. He is an artist by pure instinct. Unforeseen in his brutalities and his grace, his ironical gaiety, his tenderness ex tending to vice — a vice terminating in remorse, are evidence of a master mind. No one has pleaded more eloquently for the relief of maimed humanity downtrodden by carnal lust. Albert Samain is original and charming, gentle, suave, sincere, the poet of the fair sex. Jean Moreas, Violle Griffen and, above all, Verhaeren, are the enchanting songstresses of restless nature. Henri de Regnier is grand and sad. Paul Claudel disappointing but genial. Andre Gide disquieting and uneasy. Charles Peguy an ardent adherent to the land. Francis Jammes, the monk, and Paul Fort, the trouba dour. Leon Bloy, the theological and Ra belesian poet; above all, Remy de Gourmont, whose considerable work and enlightened intel lect apply to all systems; an admirable writer whose works will surely develop. Andre Suares, an obviously great mind; Comtesse Mathieu de Noaille, vibrant and thrilling, of an exuberant lyricism greatly captivating; Lucie Delarue Mardrus, more classical, more moderate, less genial ; Jeanne d'Orliac, with her multiple and curious essays on the affirmation of a creative and commanding will ; Marguerite Bornat Pro vins, of an amorous lyricism, whose 'Livre pour toi' is the model of a task accomplished. Finally, Charles Demaye and Henri Franck, whose early demise is ever to be regretted. They have both left masterpieces; the former, 'Le Livre du the latter, 'La Danse devant l'Arche.> Symbolist Theatre.— Claudel is the great pontiff. His faite d Marie,) a play in a mysterious vein, is, in its archaic form, a disturbing vision. a deeper work, less esthetic, more closely resembles a superior piece of realism. Maurice Maeterlinck has en dowed the theatre with that engrossing and always disturbing theme consisting in the por trayal of the mysterious 'sides and moods of man; masterpieces indeed are his chaste and profound dramas in which every word tells. Henri Gheon is responsible for 'Le Pain,' a powerfully-composed work; and H. R. Lenor mant writes desponding and disconcerting plays. J. d'Orliac, with (Pulcinella) and 'le Chiffon nier,) affirms the right of the picturesque and irony in tragedy.