Brigadier Frederick, The Dean's Watch. Erckmann-Chatrian

romances are of this order. Zola, with his epic sweep in Le Débâcle, does not disguise the horrors of the Franco-Prussian struggle. Yet epic it is, and in a sense, romantic; handled by a poet whose imagination is aroused by the magnitude and movement of his theme. Erckmann-Chatrian set themselves squarely against this conception; they reduce the splendid trappings and elan of battle to its true hideousness.

      In order to depict the inevitable, wretched results of the killing of men for purposes of political ambition, or national aggrandizement, Erckmann-Chatrian, as in their provincial idyls, cling steadily to the position of the average man, who cannot for the life of him see the use of leaving all that is pleasant and dear, of fighting, marching, sickening, and dying for the sake of a cause he does not understand or believe in, as the slave of men whom he perhaps despises. Joseph Berta, the lame conscript, the shrewd, kindly Jew Mathieu, the common-sense miller Christian Weber, protagonists in three well-known stories, each distinct from the other, are all alike in their preference for peace over war, for the joy of home and the quiet prosecution of their respective affairs, instead of the dubious pleasures of siege and campaign.

      There is a superbly bourgeois flavour to it all. Yet one feels its force, its sound humanity. The republicanism of these writers is of the broadest kind. They hate Bonaparte or Bourbon, because in their belief either house stands for tyranny and corruption; while Napoleon is their special detestation, the later Empire is vigorously assailed because it, too, is opposed to the interests of the people. Napoleon III., whom in high satiric scorn they pillory as "The Honest Man," comes in for savage condemnation, since he again brings woe upon the working folk, in pursuit of his own selfish ends. And underneath all, like a ground-swell can be felt a deep and genuine, if homely, patriotism.

      Human nature, as it is witnessed in the pages of Erckmann-Chatrian, is not hard to decipher. It lacks the subtlety of the modern psychologue, miscalled a novelist. Humanity for them is made up of two great contrasted elements – the people and the enemies of the people; the latter made up of kings, politicians, government leaders, and the general world of bureaucracy, who fleece the former, "that vast flock which they were always accustomed to shear, and which they call the people." But the people themselves, how veritable and charming they are! Not a whit are they idealized; the fictional folk of these writers are always recognisable; they give us that pleasure of recognition which Mr. James points out as one of the principal virtues of modern novel-making. The title of one of the well-known books, The History of a Man of the People, might almost stand as a description of their complete works. There is no sentimentalizing of average humanity; none of the Auerbach or George Sand prettification of country life. Erckmann-Chatrian are as truthful as a later realist like Thomas Hardy. The family life in The Brigadier Frederick is almost lyrically set forth, until it seems, mayhap, too good for human nature's daily food; but similar scenes in other stories have a Dutch-like fidelity in their transcripts of the coarser, less lovely human traits; recall the wife and daughter of Weber, for example, or the well-nigh craven fear of Joseph Berta in The Plebiscite, who seems half a poltroon until he is seasoned in a Napoleonic campaign; the psychologic treatment here suggesting Stephen Crane's The Red Badge of Courage. The blend of grim realism and heroic patriotism in the figure of the old sergeant in The Plebiscite is a fine illustration of that truth to both the shell and kernel of life which Erckmann-Chatrian maintain throughout their work.

      On the whole, then, it is a comfortable, enheartening conception of Man they present. Poor theologians they would make; men are by nature good and kind; only warped by cruel misuse and bad masters, as in war. "Ah, it is a great joy to love and to be loved, the only one joy of life," exclaims the Jew Mathieu in The Blockade. This simple yet sufficient creed pervades their thought. Again and again is it declared that whatever the apparent evil, so that the faithful-hearted and devout of the world, like Father Frederick, lose courage for the moment, the fault is with men upon earth, not in heaven. High over all, God reigns. A spirit of kindliness, quiet, unheroic, but deep and tender, enswathes the more serious part of these novels like an atmosphere; and if the mood shifts to indignation, it is the righteous indignation of the good in the face of that which is wrong and evil. And these better human attributes are most commonly found in the provinces; the city, as a rule, spells sin. The touch of mother earth brings purity and strength. "La mauvaise race qui trompe," declares the Brigadier Frederick, "n'existe pas au pays; elle est toujours venue d'ailleurs." One smiles at this, but it offends not nor seems absurd. Its very prejudice is lovable.

      Perhaps none of the stories make so moving an appeal against war as The Brigadier Frederick. Its sadness is the most heartfelt, its realism the most truthful, and hence effective. Nor in any other book of the War Series does the French character shine more clearly in its typical virtues. Family love and faith, camaraderie, humble devoutness in religion, and earnest patriotism are constantly made manifest in this fine tale. Instead of conducting their hero through the spectacular scenes of military campaigns, the authors depict only the stay-at-home aspects of war, which because of their lack of strut and epic colour are, as a rule, overlooked, and which yet illustrate far better than the most Zolaesque details the wretched milieu and after effects of a great national struggle. Frederick, the old guard of the Alsatian forest domains, loses in turn his post, his son-in-law, wife, and daughter, and at last his native land; and through all his misery remains proudly a Frenchman, who refuses to declare allegiance to the German invaders; and, in being true to his convictions, furnishes a noble example of a man who, by the moral test, rises superior to any fate, his head being

      "bloody but unbowed."

      Again, sad as the story is, it differs from too much of the tragedy of current literature; it is sad for the sake of a purpose, not for sadness' sake. Alleviation is offered the reader from the beginning, in that he knows that Frederick himself has survived all his woes, since he is telling his tale to a friend in after years. These qualities make the work wholesome and beautiful, sound both for art and life.

      Erckmann-Chatrian draw strength from mother-soil. Their stories are laid in Alsace-Lorraine, or at least it is that debatable land whence the characters go only to return for the peaceful denouement, which these authors, in the good old-fashioned style, like to offer their readers. The popularity of such writers brings us back, happily, to that untechnical valuation of literature which insists, first of all, in regarding it as an exposition of human experience. Their books bear translation especially well because there is something in them besides incommunicable flavours of style, though style is not wanting; namely, vital folk, vivid scenes, significant happenings. Theirs is the misleading simplicity of method and manner which hides technique of a rare and admirable kind. Allowing for all exaggeration for altered ideals in fiction, and for the waning of interest in the historical circumstances which they portray, there remain such elements of permanent appeal as to give their books far more than a transient worth.

      For more than forty years, Erckmann-Chatrian wrote as one man; their collaboration was, in effect, a chemical union. No example in literature better illustrates the possibility of the merging of individualities for the purposes of artistic unity. The double work of the English Besant and Rice is by no means so important nor do they stand and fall together in the same sense; much of Besant's typical fiction being produced after his partner's death. In the case of the most famed collaboration of older days, that of the dramatists Beaumont and Fletcher, the union was more intimate. But the early death of Beaumont, the consideration that he wrote less than half the plays conventionally attributed to their joint authorship, and the additional consideration that some of the best and most enjoyable dramas associated with these great names —The Loyal Subject, to mention but one – are unquestionably of Fletcher's sole composition, make the Beaumont-Fletcher alliance not so perfect an example of literary collaboration as is offered by Erckmann-Chatrian. When Chatrian died in 1890, it was as if, for literary purposes, both died. Their work had a unity testifying to a remarkable if not unique congeniality in temperament, view and aim, as well as to a fraternal unity which – alas! the irony of all human friendships – was dispelled when their quarrel, just before the death of Chatrian, put an end to an association so fruitful and famous.

      From the very nature of fiction in contrast with drama, it would seem as if collaboration in stage literature were more likely to yield happy results than in the case of the novel. Here, however, is an example setting aside a priorireasoning; seemingly "helpless