"He carried fire indifferently over the territory of the enemy and his own domain; and he was wont to say, to explain his conduct: (War without burning is like tripe without mustard - it is insipid.) His justice was rigorous. When the peasants whom he had taken prisoner could not pay their ransom, he had them hanged on a tree; and if any unhappy woman came to beg his mercy on her penniless husband, he dragged her by the hair of her head at the tail of his horse. He lived like a soldier, free from effeminacy. It is a pleasure to acknowledge that his morals were pure.»

«Satire at the present day,» says Mr. Colby, «requires objects less remote than Jehovah, Heaven, and the angels.» Perhaps this is why M. France's religious satire, also continued throughout his work, and at its best in The White Stone) (Sur la Pierre blanche) (1905), and (The Revolt of the Angels) (1914), is not quite so effective as the political. Perhaps it is, as Mr. Colby suggests, a bit too obvious. Yet it is expressed with as much engaging irony as any of his ideas. Professor Stuart Sherman has summarized this part of his work in a dozen words: «A late, unpersecuted Voltaire, he would gently laugh Jehovah out of Paradise.» He takes Montaigne's motto: «Que scais-je?» and Montaigne's method of being irrefutable because, while he affirms nothing, he likewise denies nothing. He simply asks questions. And, like Voltaire, he makes amusing and suggestive comparisons, and tells clever stories. He is unlike Voltaire, in that he takes an interested delight in all the phenomena of religion and superstition. One of his best characters is Bergeret's little dog, Riquet, whose reflections often take a theological turn, and make a deity out of his master, the insignificant old Professor:

"My master keeps me warm when I lie behind him in his arm-chair. That is because he is a god. . . . I love my master, Bergeret, because he is terrible and powerful. . . .»

...

"I speak when I choose. From my master's mouth, too, issue sounds which have a kind of meaning. But their meaning is less plain than that which I express with my voice. Everything uttered by my voice means something. But from my master's mouth comes much senseless noise. . . . It is difficult, but necessary, to define the thought of the master. . . .

...

"An action for which one is thrashed is a bad action. An action for which one is caressed or given something to eat is a good action.

"O my master, Bergeret, God of slaughter, I adore thee. Praised be thou when thou art terrible, praised when thou art gracious! Great art thou and beautiful when, seated at thy spread table, thou devourest abundant meats. Great art thou and beautiful when, bringing forth fire from a tiny stick of wood, thou changest night into day.»

Some of Riquet's reflections might possibly apply to the methods of modern science in the presence of nature, as well as to those of primitive religion:

"There are carriages which horses draw in the streets. They are terrible. There are also carriages which move of themselves, snorting loudly. These, too, are full of malice.

«Men, animals, and stones grow larger as they approach me, and become enormous when they are quite close. It is not so with me. I remain the same size wherever I am.»

This last may be contrasted with Bergeret's own reflections upon the unfaithfulness of his wife:

«No doubt, he said to himself, (this event is commonplace and of small importance, but since I am of small importance myself in the world of common humanity, I am proportioned to it; and I have a right to think it of importance to me, and not to be ashamed of the pain it causes me.>>>

Some of Anatole France's satire is ephemeral the more so, the more it is successful. Many of his works will, like Voltaire's (he would hardly be displeased with this comparison) be little read in future just because they are so successful in their immediate effectiveness. But much, especially of the social satire, is permanently true. Its peculiar irony is inimitable. Here are two more examples of it, quoted by

Brandes:

«She was the widow of four husbands, a dreadful woman, suspected of everything except of having loved consequently, honored and respected.»

<<The law, in its majestic impartiality, forbids the rich as well as the poor to sleep under bridges, to beg in the streets, and to steal bread.>>

Since the Dreyfus case, Anatole France has been an active political worker, an effective speaker, and even a partisan socialist. He published two volumes of (Opinions sociales in 1902 (the second volume containing his most important writings on the famous «case>>), and in 1906, three volumes of addresses entitled (Pour le Prolétariat. Another important volume in this field is (Vers les Temps meilleurs) (1908). An especially successful bit of social propaganda is one of his stories, (Crainquebille) (1903), later rewritten as a play. It tells how a worthy huckster, waiting in the street for his money from a customer, is ordered by a policeman to «move on.» Trying to explain, he is arrested for resisting authority and using an insulting phrase to the police. Under the blight of having been in prison, he goes rapidly down hill, until the only chance of saving himself from starvation and freezing is to get arrested again. But now, when from the gutter he deliberately throws at the nearest policeman the same insulting phrase he was accused of using before, the representative of law and order merely shrugs his shoulders and indifferently tells him to behave himself.

As a play, Crainquebille) was successful through its bald simplicity and tragic force. Two other brief plays by Anatole France have

proved available for the stage. (As Luck Will Have It (Au petit Bonheur), 1898, is a light and delicate trifle in the style of Musset's (Proverbs, and perhaps the best thing of the kind since Musset, which is saying much. (The Man Who Married a Dumb Wife) (La Comédie de celui qui épousa une femme muette) was first written merely to entertain the Society of Rabelaisian Studies for part of an evening at one of their meetings. But it succeeded so well that it was at once taken up by a regular theatre, the Porte-Saint-Martin, in the spring of 1912, and again at the Théâtre de la Renaissance in the autumn. As produced in English by Mr. Granville Barker, it ran through the seasons of 1915 and 1916 in America, and that of 1917 in London. Founded on Rabelais's brief description of a medieval play which is lost or perhaps never existed it reproduces perfectly the tone, spirit, and method of medieval farce, though the substance of its satire is thoroughly up-to-date, dealing as it does with such subjects as the high cost of living, the servant problem, the tendency to extravagance, the fashions of to-day and to-morrow, the wisdom and the pretensions to wisdom of the medical profession, the loquacity of the ladies, and so It is remarkable how much he has got into the brief space of two short acts.

on.

At least two others must be mentioned among the sixty or seventy titles of his works. His Life of Jeanne d'Arc) (1908, two volumes) satisfied neither the religious nor the rationalistic conceptions of The Maid, and is perhaps all the better for that. It pictures her as neither inspired nor charlatan, but nobly deluded; as neither a great leader nor (as Monsieur Bergeret once called her) just a sort of military mascot; but very human, simple, and true — in short, such a simple paradoxical nature as Anatole France himself could best understand and picture. And in this case his work is that of a thorough historical student, carefully documented.

success.

At the beginning of the War, in 1914, Monsieur France, though past seventy years old, volunteered for active service at the front, and did his utmost to compel the Government to accept him, but without The Government of course was right - he has done better service in his own capacity as a writer. The Path of Glory) (Sur la Voie glorieuse), published in 1915, has not even a touch of his habitual irony, except in one clever passage where he adapts some fragments from Herodotus to the events of to-day. It is written throughout with conviction and with eloquence.

Some critics, notably Brandes, have found in the career of Anatole France a complete transformation, beginning with the Dreyfus case, from a skeptical poseur and egotist, to the passionate advocate of a cause. I doubt if this is the true explanation of those contradictions which seem so prominent in his work. The contradictions are there; but they are there throughout his career. He is from the beginning at

sincere worshiper of art and beauty, and even of the religious idealism hidden under theological and ecclesiastical systems. He has always been a devotee of the French national genius and its most characteristic manifestations in literature and art and life, though not always an admirer of the nation's politicians, or its army leaders, or its accepted church. Always there has been present the charity in his skepticism, the pity in his irony, the humanity in his satire. His own works have been just what he calls (Don Quixote) and (Candide, in a striking passage in The Garden of Epicurus) — «Manuals of indulgence and pity, Bibles of good will.» His religion of humanity develops steadily throughout his life, as he grows to know men better; which is perhaps something to the credit of one who sees with steadily increasing clearness the errors and weakness and pettiness of mankind. And of his

two latest works, published within a year of each other, one is the most skeptical and ironical of them all, The Revolt of the Angels, and the other, The Path of Glory, carries the least of irony and the most of conviction.

Perhaps after all the mystery of the contradictions is not so great, and the solution is his simple and complete self-expression. He has a skeptical intellect and a believing heart; joyous senses and an active will. He refuses to mutilate himself by lopping off any part of his being; he even refuses to subordinate any part, like lesser men, for the sake of consistency. Nothing could be more simple, or more sincere. And he has an ironic smile, or sometimes a hearty laugh, at the critics who try so hard to explain his complexities, reconcile his contradictions, and pluck out the heart of his deep-hidden mystery. He said in the Preface to his first volume of criticism: «You will find in my work perfect sincerity, plentiful charity, and a natural liking for the beautiful and the good»; and in the Preface to the second volume (written in 1889):

"They tell me that after having proclaimed the principle of philosophic doubt, at the very next minute I abandon the sublime detachment of the philosopher, to cast myself into the vortex of joy and pain, of love and hate. . . . But you must, allow to poor weak man the privilege of not always bringing his principles and his feelings into perfect accord. You must let everyone have at least two or three philosophies. For unless you have created it yourself, there is no reason for thinking that any one is the only true one. . . . What people have cared for in me is no doubt my sincerity. Anyone can win interest and liking, on the condition of being absolutely genuine. It is by giving myself completely that I have won unknown friends »

Anatole France has always, when convinced, had the courage of his convictions. He has also, on occasion, had the courage of his lack of convictions, and this, because it is rarer and more difficult, has made a much more vivid impression during most of his career.

He has been called, rightly enough, a master in disillusion. But he is also a master in illusion, and in conviction.

BIBLIOGRAPHICAL NOTE. The best translations of Anatole France in English are all published by the John Lane Co., in a series of about thirty volumes which now includes practically all of his important works. Notable among these is a translation of The Crime of Sylvester Bonnard, an early work by Lafcadio Hearn done while he was in America.

There are essays on Anatole France by A. Thorold, in (Six Masters of Disillusion,› Dutton, 1909; Winifred Stephens, (French Novelists of To-day, Lane, 1908; James Huneker, (Egoists,) Scribners, 1909; Brander Matthews, (Gateways to Literature,) 1912; and Bradford Torrey, Friends on the Shelf, Houghton, Mifflin Co., 1906. There are two volumes on his work available in English: George Brandes, Anatole France, McClure, Contemporary Men of Letters Series,> 1908; W. L. George, Anatole France, Henry Holt & Co., (Writers of To-day,) 1915. Both of these are hardly more than extended essays, but excellent. The most important full studies are: G. Michaut, (Anatole France, étude psychologique, Paris, 1913; and a volume by Professor L. Piaget Shanks of the University of Pennsylvania, soon to be published.

See also: C. H. C. Wright (History of French Literature); Stapfer, (Humour et Humoristes, Paris, 1916; Andrew Lang, in the Fortnightly. Review, June, 1908 (on the Life of Joan of Arc)); Professor H. S. Canby, in the Dial, December 16th, 1910; Professor S. P. Sherman, in the Nation, July 29th, 1909; and F. T. Cooper, in the Forum, September, 1908.

IN THE GARDENS

From 'The Crime of Sylvestre Bonnard. Copyright, 1890, by Harper & Brothers

APRIL 16.

ST.

DROCTOVEUS and the early abbots of Saint-Germain-des-Prés have been occupying me for the past forty years; but I do not know whether I shall be able to write their history before I go to join them. It is already quite a long time since I' became an old man. One day last year, on the Pont des Arts, one of my fellow-members at the Institute was lamenting before. me over the ennui of becoming old.

"Still," Sainte-Beuve replied to him, "it is the only way that has yet been found of living a long time."