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 UC-NRLF 
 
 $B 22M 33b 
 

 By ZORA I. SHIELDS 
 
 Department of English 
 Omaha High School 
 
 Read before the Nebraska Library Association 
 
 at the Eighteenth Annual Meeting, held in 
 
 Lincoln, Nebraska, October 30-31, 1912 
 
 Printed (or the Omaha Public Library by the courtesy of Mr. C. N. Dietz, 
 President of the Omaha Public Library Board 
 
Foreign Literature in 
 Translation 
 
 — Br— 
 ZORA I. SjHIELDS 
 
 Department of English, Omaha High School 
 
 Read before the Nebraska Library Association at the Eighteenth Annual 
 Meeting, held in Lincoln, Nebraska, October JO-JI, igi2 
 
 Printed for the Omahx Public Library by the courtesy q^ Mr. C. N. Dietz, 
 President of the Omaha Public Library Board 
 

 
 Foreword 
 
 The fiction shelves of the average small public library 
 contain little except a few standard English novels and 
 the works, in more or less completeness, of our American 
 writers. That much of our current fiction is of slight 
 value the librarian knows, and that to confine her pur- 
 chases to our own writers leads to provincialism. She 
 would like to add books more vigorous in tone and she 
 would like to introduce her patrons to a world beyond 
 our own borders, but in approaching foreign fiction she 
 feels the timidity of venturing into an unknown field. 
 The tradition of wickedness still clings to the "French 
 novel." 
 
 It was to stimulate in our Nebraska librarians an 
 interest in these continental writers and to inform them 
 of what was desirable and available in translation that 
 we asked Miss Zora Shields, a woman of unusual attain- 
 ments and breadth of reading, to prepare this paper for 
 a meeting of the Nebraska Library Association. The 
 limited edition, printed chiefly for use in our own state, 
 was quickly exhausted and an unexpected demand came 
 from outside. To meet this demand it was decided to 
 reprint. In reprinting for more general distribution, this 
 word of explanation seems necessary, for it will be seen 
 that the purpose of the paper was only to suggest and 
 not in any sense, to furnish a complete bibliography. 
 '.' . CHARLOTTE TEMPLETON, 
 .'. « . Secretary, Public Library Commission. 
 
Foreign Literature in Translation 
 
 I have limited my subject in two ways: I have considered 
 only fiction, the novel and the drama; and I have tried to keep 
 to the nineteenth century, and toward the close rather than the 
 beginning of that period. 
 
 Twenty-five years ago, even fifteen years ago, the average 
 American had little or no acquaintance with European literature. 
 If he were well-read, he knew Goethe, Schiller, Victor Hugo, 
 Dante, Cervantes. But usually he was indifferent toward all 
 "foreign" writing, even contemptuous, feeling that Shakespeare 
 and the Bible were all he needed in the way of literature. 
 
 To-day the situation has changed. In literature, as in all 
 other lines, the range of general knowledge demanded in every- 
 day life has broadened immensely. We are brought into daily, 
 almost hourly communication with all parts of the globe; the 
 cable, the telegraph, the increased facility of travel — everything 
 combines to bring us into touch with other peoples. In a new 
 sense we realize that "Nothing relating to man is foreign to me." 
 Also this is the age of psychology, the study of the human mind ; 
 so we are interested not merely in the government, the wealth, 
 the products of these peoples, but more in their manners, their 
 characters, and their modes of thinking. In no way can we so 
 easily begin to study a nation's thought as in its literature, espe- 
 cially in its novel and drama, which are direct portrayals of human 
 life. So to-day, the American reading public demands the modern 
 writers of Europe. Our newspapers and magazines are filled 
 with references, criticisms, and discussions of the later writers, 
 the more recent novels and dramas of the other world. This fact 
 shows that these must already be known and of interest to a large 
 number of people; also it arouses curiosity among those not 
 already informed. To read one's paper comfortably in these 
 days, it is necessary to know who or what these men are, — ^this 
 Strindberg, or d'Annunzio, or Gorki. 
 
 Then for a broad view and an adequate understanding of our 
 own literature, we must know books other than those of our own 
 
 3 
 
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 race; our English authors have borrowed and imitated on all 
 sides, to understand them more clearly we must know their origi- 
 nals, their models, or their masters. The well-read person now 
 must be familiar with the drama in Norway, in Russia, in Ger- 
 many, if he would listen intelligently, — say, to an American prob- 
 lem play. More and more we realize the truth of Matthew 
 Arnold's words: "The criticism which alone can much help us 
 for the future is a criticism which regards Europe as being, for 
 intellectual and spiritual purposes, one great confederation, bound 
 to a joint action and working to a common result." 
 
 And when we consider a matter of even deeper importance 
 than the appreciation of literature, we find that the most striking 
 and important problems of the day, — social, political, sex, re- 
 ligious, — all have been treated more fully, more carefully, more 
 earnestly in European writings than in English or American, — 
 perhaps because these questions have been brought home more 
 pressingly in older and more crowded communities. So there is 
 a great and serious reason for our study of these books, not so 
 much because they suggest remedies, for they give only vague, 
 tentative directions for the most part, but because they state the 
 case so clearly, paint the picture with such wonderful accuracy of 
 detail; they are experts in diagnosis. And any cure can come 
 only after a thorough understanding of the disease. 
 
 There is yet another reason, an urgent, imperative need, that 
 we should become familiar with the minds, lives, and characters 
 of our European neighbors, for these very Europeans are in our 
 borders, they dwell with us, they are soon to be our fellow- 
 Americans. How can we hope to make American citizens of 
 them, unless we understand their strength and their weakness, 
 that we may develop the one and remedy the other? We gain 
 some of this knowledge from contact with the people themselves, 
 but slowly and imperfectly, for they are dazed and bewildered in 
 a strange new environment, their national characteristics are 
 blurred. Their books, the embodiment, the very essence of their 
 national spirit, can give us this much needed information more 
 clearly, and far more quickly. Perhaps we are inclined to look 
 down on these people as "foreigners," to despise them a little as 
 our inferiors. But as we study their masterpieces, we must lay 
 aside our arrogant sense of superiority, to realize that in a literary 
 way we are unsophisticated beginners who are permitted to go to 
 school to great artists. We are made to recognize facts to which 
 our eyes have been closed, we are thrilled and swept along in 
 
lofty flights of imagination, we see laid bare before its the human 
 heart and soul with all its intricacies of vice and virtue — and there 
 fs little room left for petty pride; we must feel toleration, sym- 
 ]:)athy, respect, brotherhood, toward the races which have given 
 the world an Ibsen, a Tolstoi, a Maeterlinck. 
 
 If then, from the standpoint of public need, it seems essential 
 that the public library should contain a considerable amount of 
 modern European fiction, there is still another motive which must 
 appeal to the librarian, and that is the charm and attraction offered 
 by the new, the unusual, the unfamiliar. Stories of out-of-the- 
 way corners of the world have always had a mighty fascination 
 for countless readers, and here are hundreds of books about 
 places known to most of us only by name. True, English authors 
 have imitated these books, but the freshness and force of the 
 original is more alluring than any copy. To a librarian who is 
 struggling, almost vainly, against the popularity of a Robert 
 Chambers, a Harold McGrath, an Augusta Evans Wilson, it would 
 seem a boon indeed to see a list of books, attractive, thrilling, 
 exciting, and really worth printing. To be sure translations are 
 inadequate, faulty, and generally unsatisfactory, but even crude 
 translations often reveal the great thought or the wonderful work 
 of characterization, though we must miss the beauties of sound 
 and style and all the delicate shades of meaning. 
 
 There are two notes of warning to be sounded. In the first 
 place, many of these books are not intended for amusement ; the 
 true purpose and value is revealed only after careful reading, 
 re-reading and study. They are worth the time required, but 
 they can never be popular. The lovers of mere plot, who are 
 filled with a feverish excitement of curiosity as to how the story 
 is to end, will do well to stick to "The Prisoner of Zenda" and 
 its hundreds of imitations. Then, too, as to sex and religion, 
 these Europeans seem to have a point of view other than our own. 
 There is a franker, bolder attitude ; details from which we shrink 
 are recognized as necessary factors in human life and characters. 
 I feel an essential difference in the treatment of sex relations 
 among the Northern and the so-called Southern races. I believe 
 almost all thoughtful, serious people admit that Ibsen and Tolstoi 
 dwell on such problems, not out of love of portraying morbid 
 erotic and neurotic conditions, but because of an agonized per- 
 ception of a destroying ulcer, and a sincere desire to effect a cure. 
 Is not Jane Addams actuated by the same motive? It may be 
 questioned whether that is the motive in many French, Italian, 
 
and Spanish writers, or whether we find there mainly dehght in 
 riotous emotionalism. For this reason I f^el that for general 
 circulation more of the literature of the North than of the South 
 is advisable. And there must be a choice. Once the librarian 
 who wished anything but classic German literature was limited to 
 translations by "E. Marlitt." Now such a flood of European 
 literature in translation is surging upon us, that we have to 
 choose. My list does not pretend in the least to be complete, even 
 up to this year, 1912 ; it merely presents some of the books which 
 appear especially interesting or valuable, or which have aroused 
 an unusual amount of discussion. Each year brings us so many 
 new translations, of constantly increasing attractiveness and 
 value, that no list could long pretend to be complete. 
 
 Among the peoples of Europe who offer us literature that 
 we can not afford to miss, are Norwegians, Danes, Swedes, Ger- 
 mans, Russians, Poles, Spaniards, Italians, Belgians, Hungarians, 
 Frenchmen. Certainly comparisons are odious here, and it were 
 a rash critic indeed who would venture to pronounce on com- 
 parative merits, to declare one literature more important than 
 another, for each has its own special contribution to the intellec- 
 tual content of the world. But we still have a fondness for call- 
 ing ourselves Anglo-Saxons, so we may logically begin with 
 Teutonic races, and among them with the Scandinavians, when 
 we consider how many Norwegians, Danes and Swedes are within 
 the borders of our own state. 
 
 Modern Scandinavians are alert, progressive, brilliant, keen 
 and clear thinkers along practical, ethical and artistic lines. 
 To-day we are just beginning to awaken to a realization of the 
 tremendous importance of Norse myth and saga. Comparative 
 philology, history, Wagnerian opera, modern art, all direct our 
 attention to this field; here too there is a new realm of wonder, 
 of supernatural beings and events marvelously appealing to child 
 and youth — an entirely new Arabian Nights. Brunhilde, Freya, 
 V^alhalla, Yggdrasil, Sigurd, Balder, Odin, the Valkyries, — can 
 any names be more potent? We find in Scandinavian literature 
 a terseness, a vigor, an intensity of feeling and expression which 
 seem peculiar to these peoples — an intensity essentially different 
 from Celtic or Oriental fervour and passion, but no less stirring, 
 with its background of glaciers and fjords, dark, turbulent waters 
 and lands wrapped in snow. The spirit of the \^ikings still lives, 
 still sweeps all before it in irresistible victory; the "splendid 
 
 G 
 
seriousness'* is still there, and still may it be said, ''Hard and cold 
 grey, with hidden fire, was the temper of these people.' 
 
 It is surely unnecessary to say that a complete edition of 
 Ibsen's dramas is much to be desired. Whether we feel antagon- 
 ism or admiration for this modern prophet, at least he has stirred 
 more minds, and aroused more discussion than any other one 
 modern dramatist; and to arouse thought, to awaken the world 
 to some of its weaknesses and mistakes was surely his aim; 
 Huneker calls him "a dynamic grumbler, like Carlyle." It is 
 absolutely necessary to know ''The Doll's House," "Ghosts,' 
 "The Pillars of Society," "Hedda Gabler," if we try to keep up 
 at all with the march of modern thought. 
 
 If we shrink from the pessimistic pictures and cold, abrupt, 
 clear-cut style of Ibsen, we find the opposite in his famous friend 
 and rival, Bjornson. "Synnove Solbakken," "Arne," and "The 
 Bridal March" must attract youth as well as age, with their mar- 
 velous simplicity and idyllic qualities, their depth of understand- 
 ing for the sufferings of youth, its shyness, ignorance, restlessness 
 and passion. Bjornson is not merely happy, he is joyous; he 
 expresses himself with simplicity, clearness, and terseness. Since 
 he loves the people and is the very personification of the demo- 
 cratic spirit, he seems especially suitable for our Republic. Two 
 books of his later years are interesting in a deeper, more prob- 
 lematic way : in "In God's Way," Bjornson has studied carefully 
 the effect of narrow orthodoxy, conventionality and prejudice; 
 in "The Heritage of the Kurts" he has given us a new ideal of 
 education, its problems, methods and aims, very appealing to us 
 because we are beginning to work a little along the lines he sug- 
 gests. A drama, "Sigurd Slembe," seems to me important be- 
 cause it deals with the old Viking period, so stirring and wild, 
 and still has for its central problem a modern ethical question. 
 If we can draw near in any way the Eddas, the Sagas, it certainly 
 is worth while. 
 
 Another Norwegian writer, decidedly less familiar in 
 America, is Jonas Lie. In this man himself and reflected in his 
 work, there is a strange but attractive mixture ; he is the son of 
 an able, practical Norwegian lawyer with an intense grip on 
 reality, and of a mother of Finnish or Gypsy blood, who imparted 
 to her son a love of the eerie, the uncanny, a fondness for lux- 
 uriant wealth of color, a sympathy with the wild, the untamed, 
 the rebellious in nature and in human beings. "The Barque 
 Future" is interesting because of its realistic picture of sailors* 
 
and fishers' life in Norway, also for its touches of weird Finnish 
 life and character; it is a haunting tale with an intensely realistic 
 and prosaic plot, which still is permeated by a romantic atmo- 
 sphere. Much like it is "The Pilot and His Wife/' But in 
 "Niobe" and "The Commodore's Daughters" the other side of 
 Lie's mind appears, for they are detailed stories of every-day life, 
 convincing in their simple reality, the exact study of the psychol- 
 ogy of modern family life, just as true in America as in Norway. 
 Lie reminds one somewhat of Arnold Bennett, but his work is 
 simpler, the outlines are clearer, and he is always intensely in 
 earnest. 
 
 One or two books of the Swedish writer, Selma Lagerlof, 
 are desirable, because of her vivid imagination and very unusual 
 style. Following no law, no rule, she has worked out in "The 
 Story of Gosta Berling" several important problems. She belongs 
 to the extreme romantic school and her short stories in "From a 
 Swedish Homestead" and "The Girl from the Marsh Croft" are 
 almost like Irish folk-tales. 
 
 To some Strindberg is an insane and immoral monster; to 
 others, he bears a great message. He certainly has aroused great 
 admiration among European critics and considerable discussion 
 in England and America. The story runs that Ibsen said of him, 
 "There is one who will be greater than I.'* But he can hardly be 
 considered for general circulation. 
 
 When we reach German books, we realize anew that the 
 English and the Germans were sister-races of the same Teutonic 
 tribe, for our literatures are kindred, and resemble each other 
 strongly. We find many of our ideas of morality and ethics, the 
 same familiar atmosphere of every-day home life, the same 
 commonplace vices and virtues, something of the same emotional 
 restraint. This very similarity makes it hard to state the differ- 
 ence, to say just what makes German literature distinct. The 
 German is philosophical, introspective ; he is a student, a worker, 
 a thinker, a deep ponderer on the problems of life, of the soul, of 
 fate. He is consciously introspective ; he does not write to amuse, 
 to entertain. His study of souls may take the form of intense 
 realism, as in Hauptmann's "Weavers," or it may appear in lofty 
 symbolism as in "The Sunken Bell." Whichever it is, it is built 
 on the basis of the slow, exact, careful spirit of German scientific 
 research, to which the whole world does homage. Solidity and 
 depth seem to me the chief characteristics, for to Germany we owe 
 Schopenhauer, Nietzsche, Kant, Hegel, Leibnitz, Mommsen, 
 
 8 
 
Ranke. Of course it is to be assumed that all libraries own the 
 works of Goethe and Wagner. There are many German writers 
 to-day of skill and importance ; I shall attempt to discuss only the 
 three or four most prominent. 
 
 Hauptmann is certainly most lofty in thought, view, and 
 purpose. He sees the errors, the pettiness, the degradation, the 
 failures in human life as well as any realist, but he has a nobility, 
 a lofty morality, an ultimate faith which save him always from 
 the air of sordidness and debauchery of many modern realists. 
 **The Sunken Bell" and "Hannele" are necessary in a progressive 
 library. They are not simple, they will never be popular, but 
 neither is Shakespeare's "Tempest." Less familiar is "The 
 Weavers," a play which may well win attention everywhere in 
 these days of labor agitation, for it is an accurate painting of the 
 misery of a Silesian weavers' strike. "Lonely Lives" is intro- 
 spective in the extreme, since it shows us in one blinding flash 
 the agony and struggle of old-fashioned, orthodox parents of an 
 advanced, philosophical son, of a simple, loving, uneducated wife, 
 and of a progressive, educated modern woman, — these are not 
 caricatures, but real people. "The Rats" summons before us the 
 tragedy and complications of life in a tenement. "Rosa Bernd" 
 is a most sympathetic study of the struggle made by a beautiful, 
 lower-class girl, who finally sinks beneath the horror of modern 
 social conditions, — and fate. "And Pippa Dances" will furnish 
 an enigma over which to study indefinitely. 
 
 Sudermann is more simple, easier to understand, more popu- 
 lar ; his characters are real men and women and his situations are 
 familiar, but we may quarrel with the probabilities of his plot and 
 his conclusion. He is not the deep philosopher, but the dramatist, 
 watching for effective stage tricks. "Dame Care" grips us with 
 its sordid financial struggle and the petty but bitter anxieties of 
 family life. "The Joy of Living," wonderfully translated by 
 Edith Wharton, and "Magda" are becoming so familiar to us as 
 we see them on the stage, that we even dare to differ from the 
 interpretations of Mrs. Fiske and Mrs. Patrick Campbell. To my 
 mind, one of Sudermann's best bits of work is "Fritzchen," one 
 of the three little plays in "Morituri." 
 
 With much less technical skill, less literary craftsmanship, 
 Frenssen has aroused general interest because of a bare, uncalcu- 
 lating, homely portrayal of the lives of a group of people. He 
 is somewhat like De Morgan, or Dickens; he shows the same 
 kindly sympathy, the same ultimate optimism, the same careless, 
 
 9 
 
involved structure, the same love of digression. Of '']6rn Uhl," 
 one critic has said: "This book has sprung from the deep con- 
 sciousness of modern Germany and utters the longings, thoughts 
 and aspirations of the German heart in a way no other modern 
 book has done. It is a living book, it is a book throbbing with real 
 life, passion and poetry." Again, "Frenssen's books sing of nature 
 and human life, grand, strong, and true; of confidence in man, in 
 the eternal powers, in God. They sing of a simple, original 
 Christianity — the religion of Christ, the Man of Galilee." Un- 
 doubtedly Frenssen's greatest book is "Jorn Uhl," some even say 
 he is an author of one book, so again he reminds us of De Morgan. 
 For myself I have exactly the same experience : "Joseph Vance" 
 may be De Morgan's greatest book, but I cannot give up "Some- 
 how Good" and "It Never Can Happen Again;" so also I am 
 very glad Frenssen wrote "Holyland." 
 
 Ebers gives us a chance, a rare one, to read historical novels 
 of ancient Egypt, written by a thorough scholar in Egyptology. 
 Auerbach and Rosegger permit us to know and love the German 
 peasant. And so on. 
 
 Within the last ten years, Slavonic races in great numbers 
 have been surging into our land, and to many of us that has 
 seemed a danger, a menace, for we thought them crude, almost 
 savage. In our beet-fields, in our stock-yards are almost number- 
 less Russians, and of Russia we know little or nothing. For the 
 last twenty-five years Europe has praised Russian literature and 
 Russian writers, but America is barely beginning to appreciate 
 their greatness. The race is puzzHng to us in many ways: we 
 begin to see their capabilities. Within the last year Mary Antin 
 has taught us a much-needed lesson. In the May Atlantic of this 
 year Margaret Sherwood has characterized Russian literature very 
 aptly : "In the Russian work there is a deep and tragic sense of 
 fate, an undercurrent of emotion which makes their apparently 
 unmoved recitation of details full of tragic power. One finds it 
 in Tolstoy, in TurgenieflF, in Dostoievsky. It comes from a depth 
 of temperament that perhaps has in it something of the Oriental 
 sense of unfathomable meanings. Of the thousand and one facts 
 of daily life the Russian can work out a drama of destiny wherein 
 the very surroundings seem heavily charged with significance. 
 That splendid, listening impersonality of the Russian, the sphinx- 
 sense of mystery, is a race characteristic, and cannot be borrowed. 
 . . . That patient suspension of judgment during long brooding no 
 
 10 
 
To-day the Russian writer best known in America, prac- 
 tically the only one known generally, is Tolstoi. Whether he be 
 an artist, a philosopher, a great author, a religious teacher, or 
 only a gigantic mistake and a pathetic failure, is a question useless 
 to discuss. This at least is true : he has emphasized the value of 
 independent thought, of simplicity of life, of purity in spirit and 
 art, of courage. He may be merely a fanatic, but to many men 
 in Europe and America, he has been and is a Master. He has 
 surely given us masterpieces in his studies of the primitive life 
 and mind: "The Cossacks,'* which some one has called "a little 
 idyl of the Caucasus," "Master and Man," "Hadji Murad," "The 
 Three Deaths," "The Death of Ivan Ilyitch." The most discussed 
 books are "Anna Karenina," which discusses marriage without 
 love, and "War and Peace ;" in Russia these are put into the hands 
 of young girls ; with us young girls and boys and older people will 
 refrain from two and three volume novels. His religious writ- 
 ings are more likely to be read, especially "My Confession" and 
 "My Religion ;" and of his dramas much emphasis is being placed 
 on "The Power of Darkness." An eminent critic who does not 
 praise Tolstoi overmuch says "a stranger who would understand 
 Russia of the nineteenth century must read Tolstoi." 
 
 A much greater artist, a much kindlier nature, a more fasci- 
 nating writer is Turgenev. Both in style and thought he is 
 attractive; even in translation we can appreciate his beauty and 
 delicacy, his aptness of expression. In "Dream Tales" we find a 
 weird, mystic, haunting sense of the supernatural; "Poems in 
 Prose" are marked by a loftiness of emotional appeal, a keenness 
 of insight into the soul of man, and an unerring perception of the 
 slightest details in nature, which are truly poetic. In the novels, 
 "Fathers and Children," "On the Eve," "Smoke," "Liza," "Virgin 
 Soil,'* there is the simplicity, not of the primitive mind but of the 
 highest culture, and a sympathetic appreciation of the most in- 
 volved problems of modern life. According to able critics such 
 as Taine, Turgenev was one of the most artistic natures that has 
 been among men since classic times. One writer has said of his 
 work that it is "a symphony, a sweet and solemn music like the 
 sounds of the forest;" and another that "Turgenev is, without 
 exaggeration, the best word-painter of landscape that ever wrote." 
 
 Entirely different from these two Russians is Dostoyevski, 
 the great psychological expert. Bazan says: "He leads us into 
 a new region of aesthetics, where the horrible is beautiful, despair 
 is consoling, and the ignoble has a halo of sublimity ; where guilty 
 
 11 
 
women teach gospel truths, and men are regenerated by crimes ; 
 where the prison is the school of compassion, and fetters are a 
 poetic element." This man, whose personal experience shows 
 almost every horror, brutality and suffering that occurs to us in 
 connection with that land of police spies, the knout, anarchy, 
 massacres, Siberia, reveals to us the uttermost sufferings, not 
 merely of the human body, but also of the human soul. More 
 than any other Russian, perhaps more than any other European, 
 he is influencing modem Hterature; for his interest is in finding 
 a redeeming spark in the souls of all, even of the most degraded. 
 An epileptic, bom in a charity hospital, sentenced to be shot in 
 prison, enduring four years of hard labor in Siberia, facing hun- 
 ger, cold, debt continually, he speaks from actual knowledge, not 
 imagination. "Crime and Punishment" is called the profoundest 
 psychological study since "Macbeth." If Dostoyevski shows us 
 only one side of life, he paints that to perfection, — suffering 
 humanity. 
 
 There is still another Russian, with still another type of book. 
 Gogol's "Taras Btilba" is a wild, thrilling, barbaric tale of an old 
 Cossack chief; it may well be called a Russian epic, for while it 
 is written in prose, it breathes a primitive, heroic, national spirit 
 and action. It carries the reader along in its sweeping enthusi- 
 asm ; even in its wonderful descriptions of nature we feel, not the 
 artist's fondness for a picture, but the Russian's idolatrous, pas- 
 sionate love for his boundless steppes with their flowers and birds, 
 their mighty rivers, their stretches of snow and ice. The lavish 
 and vivid figures of speech are Homeric ; there is nothing common- 
 place or hackneyed about this book. But pick up a volume of 
 Gogol's short stories, "St. John's Eve," for example, and a sur- 
 prise awaits us; for in "Old-fashioned Farmers" two childish, 
 puttering, old people are drawn, with a wealth of detail and a 
 love that attains pathos. "The Cloak" is a study, careful and 
 true, of the poverty-stricken life of a poor old copying-clerk, 
 bitter, dreary, tragic. Gogol's understanding of the untamed 
 Cossack did not dull his loving perception of the simple, gentle, 
 kindly old house-wife and the mediocre clerk. 
 
 When we tum to the books of the Latin races, there appears 
 a great difficulty and a new problem. Their life is not ours, their 
 thoughts are not often ours, their language is very far from ours. 
 It is only in basic human qualities that Teutonic and Latin peoples 
 can sympathize. So, in these writings, it requires time, and study, 
 and re-reading to understand even faintly. 
 
 12 . 
 
Foremost among them are French books, and here are so 
 many authors whose names are famous that one is confused at 
 the very outset. We must all be acquainted with Victor Hugo, 
 Dumas, both father and son, George Sand, Jules Verne, Eugene 
 Sue. But beyond that the ordinary reader must limit himself ; 
 he can hardly hope to become acquainted with all modern French 
 literature; he must choose types. Also this motto should be 
 emblazoned above French books: "The French novel is not for 
 the young. It is the fruit of maturity, addressed to maturity." 
 Which, being translated, means that they dwell on sides of life 
 which English writers avoid or at most touch very lightly, for 
 their conventions are very different from ours. But this is a 
 great, a very great literature. Ever since mediaeval days French- 
 men have been masters of the art of story-telling, they are still 
 masters. French prose for more than a hundred years has been 
 counted one of the most perfect mediums in the world for ex- 
 pressing thought ; English writers have learned from the French. 
 But the casual reader is bewildered by this wonderful artistry in 
 words; when there is added to that, Celtic emotionalism, and 
 modern realistic standards both in material surroundings and in 
 psychological study, he is beyond his depth. These books are 
 great, some from the point of view of exquisite style, some from 
 the keenness of emotional portrayal, some because of real under- 
 standing of the human mind and heart and soul ; but for the most 
 part they are not pleasant reading, except to the morbid. 
 Dostoyevski's stories of idiots, epileptics, and Siberian exiles have 
 a less depressing effect than Flaubert's minute, exact, painfully 
 accurate study of innate human depravity in "Madame Bovary." 
 Somewhere Stevenson has referred to the hideous thoughts that 
 crawl like reptiles in the minds of all of us. Much of modern 
 French fiction seems to me an analysis of these slimy thoughts. 
 And there is a blackness of pessimism here that robs even the 
 beautiful words, pictures, and thoughts of their sincerity ; nothing 
 seems real or worth while. The Greek, the Norse, the Russian 
 have the pessimism of fataHsm, they see the futility of man's 
 struggle ; but the Frenchman has no belief in humanity. 
 
 It is a pleasure to turn for a moment to the great Belgian 
 mystic, Maeterlinck, who may be discussed here, because he writes 
 in French. It should always be remembered that this symbolist 
 is one of a large French school, but he is the only one familiar 
 to an English public. More and more he is coming to be a factor 
 in modern literature. His writings have an air of mystic holiness ; 
 
 13 
 
>) 
 
 the material world hardly exists for him; the soul is all that is 
 real, or interesting or important. By mystery, fairy-like atmos- 
 phere, strange whispers and endless repetitions, he lulls to sleep 
 the ordinary senses, our critical faculties, our inherited prejudices 
 and literary conventions ; and we, as souls, watch one soul speak 
 to another. It is the very antithesis of materialism. To quote 
 from Symons: "All that he says, we know already; we may 
 deny it, but we know it. It is what we are not often at leisure 
 enough with ourselves, sincere enough with ourselves, to realize ; 
 what we often dare not realize; but when he says it, we know 
 that it is true, and our knowledge of it is his warrant for saying 
 it. He is what he is precisely because he tells us nothing which 
 we do not already know, or it may be, what we have known and 
 forgotten." "The Intruder," "The Blind," and "Home" are the 
 simplest, the clearest, for no one can fail to understand and be 
 deeply moved. "Monna Vanna," in many ways more conven- 
 tional, seems to most critics a marvelous analysis of the innermost 
 relationship of human souls in society. And Maeterlinck's essays 
 are proving to many people just as interesting as his plays. 
 
 Turning again to French writers, we must bear in mind firmly 
 that here are hardly a dozen books to be put into the hands of boys 
 and girls, or of the indiscriminating reader. But many of these 
 French books are wonderful works of art. Since these authors 
 are so many, and so different, it has seemed easier and shorter to 
 give you many brief extracts from prominent critics in an attempt 
 to characterize these men. 
 
 Many of the greatest French writers belong to the realistic 
 school, which has for its master, Balzac. Symons says that the 
 complexity, the confusion, the turmoil of the nineteenth century 
 has demanded a new epic, and that the novel with its infinity of 
 detail, as Balzac has created it, has become the modern epic, the 
 equivalent of the hurrying life of great cities. "The novel, as 
 Balzac conceived it, has created the modern novel, but no modern 
 novelist has followed, for none has been able to follow, Balzac 
 on his own lines." For to Balzac the important thing is not the 
 endless detail itself, but the fact that that detail was the expression 
 of a man's brain, heart, will ; he never forgot the human problem 
 back of all the struggles; he is interested in the way each man 
 works out his fate, and is not sure that one way is more correct 
 or better than another, so he watches and paints all impartially. 
 To understand the greatness of Balzac, read "Pere Goriot" and 
 then "Clayhanger," in which Arnold Bennett is attempting to use 
 
 14 
 
the same method. Balzac's books are not meant to entertain, but 
 to teach. But these modern Frenchmen do not stop their plot to 
 moralize, as did George Eliot; they realize that their story, their 
 plot, if perfect, ought to teach the lesson more forcibly than any 
 sermon; for in a sermon the truth is told us, but in these books 
 we are compelled to work out to this conclusion in our own hearts 
 and minds, so it has become a part of us. Even if it is true that 
 no one before thirty can understand Balzac, stillan y one can read 
 and feel the greatness of such a masterpiece as "Eugenie 
 Grandet." 
 
 After Balzac comes a long line of authors, each different, 
 each striking. Flaubert, the greatest of Balzac's successors, is 
 even a greater artist than the Master. His is a perfect style, but 
 he lacks the sympathy, the kindliness of the other; Flaubert in 
 the coldest, crudest way possible dissects the human soul. Saints- 
 bury says : "The ordinary novel is a compromise and a conven- 
 tion. Of compromises and conventions Flaubert knows nothing. 
 He dares in especial to show failure, and I think it will be found 
 that this is what few novelists dare, unless the failure be of a 
 tragic and striking sort. He draws the hopeful undertakings that 
 come to nothing, the dreams that never in the least become deeds, 
 the good intentions that find their usual end, the evil intentions 
 which also are balked and defeated, the parties of pleasure that 
 end in pain or weariness, the enterprises of pith and moment that 
 somehow fall through." 
 
 Of the other realists, Zola and Daudet are the best known; 
 Zola because he is so terrible, so sickening, so filthy, because he 
 sees in humanity only the beast; Daudet, because he unites with 
 realism a sense of humor and an appeal to average human 
 sympathies. 
 
 Another group of writers in France are the story-tellers "par 
 excellence." Here belong Gautier, Maupassant, Coppee, Merimee, 
 Pierre Loti. Gautier has given us "Captain Fracasse," a romantic 
 tale perfectly suited for children in their teens, of a perfectly 
 good young nobleman who goes through a series of amazing 
 adventures. Gautier is a master of words, of pictures ; he loves 
 beauty and color — ^gold, marble, and purple. His short stories, 
 translated by a master of English also a worshipper of beauty, 
 Lafcadio Hearn, are models of the art of description and narra- 
 tion. He loved the Orient. It has been said: "His stories are 
 a substitute for opium and hashish, and take us into a world like 
 that of old romance and myth, where we meet our own souls 
 
 15 
 
walking in strange clothes." Maupassant is a cynic, who paints 
 by means of his senses, the things that appeal to the senses. 
 James says : "He fixes a hard eye on some small spot of human 
 life, usually some ugly, dreary, shabby, sordid one, takes up the 
 particle, and squeezes it either till it grimaces or till it bleeds. 
 Sometimes the grimace is very droll, sometimes the wound is very 
 horrible; but in either case the whole thing is real, observed, 
 noted, and represented, not an invention, or a castle in the air. 
 Maupassant sees human life as a terribly ugly business relieved 
 by the comical, but even the comedy for the most part is the 
 comedy of misery, of avidity, of ignorance, helplessness and 
 grossness." But through one of the strangest freaks of genius, 
 this cynical Maupassant wrote "Pierre and Jean," a masterpiece of 
 understanding, of sympathetic understanding, of a dreary tragedy 
 of every-day life. Alerimee is the author of two works practically 
 perfect; "Carmen," a wonderful story of the Spanish gypsy, as 
 fascinating as the familiar but never hackneyed "Toreador Song" 
 in its dramatization ; and "Colomba," a living expression of the 
 wild, fierce Corsican spirit, in its independence and cruelty and 
 revenge. These are simple, clear-cut, almost Greek studies of 
 elemental passions and elemental people. Coppee is known mainly 
 for his short stories, which are almost un-French in their purity 
 and moral elevation, very simple, very touching stories of the 
 lives of the lowly, tales like the work of modern Scandinavians. 
 In one called "At Table," he gives us a vivid picture of the beauty, 
 the splendor, the attractiveness of a banquet among aristocrats; 
 then he makes us feel just how much misery, agony and tragedy 
 have gone to produce each detail of the banquet. Pierre Loti, 
 whom some one has called a French Kipling, cannot be judged 
 by any literary standards we have set up. It is easy to find 
 blemishes in his style, and he is very simple, with little concern 
 about modern psychological complexities; also he is not immoral, 
 but unmoral — morality means nothing to him. But if this roving 
 sailor, who personally is the most exquisite fop, had given us but 
 one book, "An Iceland Fisherman," that tragic tale of Breton 
 fisher-folk would have gained him lasting fame. Lovers of the 
 strange, the exotic, can find in Loti the essence of Oriental emo- 
 tion, whether in Turkish harems, in Africa, Egypt, Jerusalem, or 
 Pekin. Gosse says: "There is no more curious phenomenon in 
 the existing world of letters than the fascination of Loti. Here 
 is a man and a writer of a thousand faults, and we forgave them 
 all. . . . For those who have passed under the spell of Loti, he 
 
 16 
 
is irresistible. He wields the authority of the charmer, of the 
 magician, and he leads us whither he chooses. The critical spirit 
 is powerless against a pen so delicately sensitive, so capable of 
 playing with masterly effect on all the finer stops of our emotions.'* 
 Bazin seems almost an exception in French literature; he is 
 not merely moral, but deeply religious, with the haunting, melan- 
 choly sweetness and resignation of the Catholic Church; he 
 dwells in an air of spiritual elevation and serene peace. Anatole 
 France, on the contrary, is the personification of scepticism, of 
 irony, of the spirit of the fashionable man of the world. But this 
 sceptic wrote "The Crime of Sylvestre Bonnard,*' a book of sweet, 
 wholesome simplicity, a beautiful book about a dear old man who 
 is a profound scholar and yet intensely human. 
 
 A French writer, perhaps not of the first or second rank, 
 but of great charm, clear vision, and deep sympathy, is Edmond 
 Rostand. However much we may criticise "Chantecler," and say 
 that it isn't art, that the thought is trivial and obscured by the 
 unusual but classic device of portraying animals, we never forget 
 that Rostand created also "L'Aiglon" and "Cyrano." That piti- 
 ful, heart-rending picture of "L'Aiglon," Napoleon's son, with 
 all the delusions and enthusiasms of youth and the final failure 
 of the frail human creature to live up to his opportunities, is a 
 triumph of the newer, the modern romanticism. "Cyrano" is one 
 of the few characters in French fiction generally known to English 
 readers; he is a French "Sentimental Tommy," he is a study in 
 the egotism of the average man, with his dreams and boasts and 
 sentimentalities, drawn with true Celtic perception of the ridicu- 
 lous, the pathetic, the tragic. 
 
 "Cyrano" is so plainly modeled after "Don Quixote*' that 
 Rostand may easily be taken as the connecting link, or the intro- 
 duction to Spain, the land of chivalry, the land of "The Cid," of 
 Cervantes, of Calderon. Brunetiere says that Spanish literature 
 has "preserved for us all that deserved to survive of the spirit of 
 the Middle Ages." Here as in France we find many novelists 
 and dramatists, though even the four greatest are unknown to 
 the American public, even by name. All who know Spanish lit- 
 erature agree that here are minds well worth our study. Valera, 
 Valdes, Galdos, and Echegaray, are all to be had in translations, 
 and unusually good translations. One critic says : "Valera, for 
 all his polite scepticism, is a Spaniard of the best, a mystic by 
 intuition and inheritance, a doubter by force of circumstances and 
 education. His best will be read as long as Spanish literature 
 
 17 
 
endures. He is a great creative artist, and the embodiment of a 
 people's genius." Galdos is "a prolific inventor, a minute ob- 
 server of detail, who combines realism with fantasy, flat prose 
 with poetic imagination." His works are absolutely clean. Valdes 
 is not Spanish, he is cosmopolitan. He will never be a popular 
 writer, for he demands study, since he emphasizes spiritual values. 
 Of Echegaray a writer in Poet Lore says : "There is a profound 
 idealism about the dramas, a lofty impatience of conventional 
 moral standards, an intense conviction of the inherent relations 
 of sin and retribution, a stern and rugged grandeur which re- 
 mind one of Victor Hugo, to whom Echegaray is, in fact, often 
 likened by the Spanish critics." To me, he seems more influenced 
 by and akin to the stern work of Ibsen. At least here is the 
 lesson of duty and morality voiced for us by the far South. 
 
 To characterize modem Italian literature seems well nigh 
 impossible ; for in the four prominent writers of to-day there are 
 seen two distinct types. Fogazzaro, Serao, and Verga are serious, 
 high-minded artists, intent on the ethical value of human Hfe, 
 showing their Italian nature mainly in a beautiful style, more 
 riotous in color, figures and imagination than French simplicity, 
 and also in the Southern impulsiveness and in the fervid passion 
 of the Tropics. Fogazzaro, who has something of the sweetness 
 and religious atmosphere of Bazin, is interpreted for us by an 
 Italian critic : "He works for the unraveling of perplexing prob- 
 lems; to bring clarity where seeming darkness reigns; to add 
 greater dignity to man by enlarging his mission beyond terrestrial 
 usefulness; to harmonize progress with his faith. Idealism and 
 deep sane faith form the essence of his life." One of the fore- 
 most writers of modern Italy is Serao, a woman and a realist. 
 A newspaper reporter by training, she knows how to use effec- 
 tively the most trivial details; in "The Ballet Dancer," we are 
 made to feel the grinding poverty of trying to keep up appear- 
 ances by the poor girl's worries over her six-year-old plume, 
 which she had curled over the back of the scissors, and which 
 would be ruined by the rain; but there is more sympathy and 
 human understanding in Serao than in most French realists. 
 Verga, whom we know mainly as the author of "Cavalleria 
 Rusticana," is an intense realist, who gives us the life of Sicilian 
 peasants. Like Hardy, whom he resembles, he shows us grim 
 reality. Of the "House by the Medlar-tree," Howells says: "I 
 can praise Verga's book without reserve as one of the most per- 
 fect pieces of literature that I know. When we talk of the great 
 
 18 
 
modern movement toward reality, we speak without the docu- 
 ments if we leave this book out." Verga's story of the poor 
 little *'St. Joseph's Ass" is one of the most pathetic and convinc- 
 ing tales of the sufferings of man and beast. Verga seems to me 
 a master of realism. 
 
 The Italian writer most talked of to-day is d'Annunzio. One 
 critic sees in his works symbolism: "There are in d'Annunzio, 
 reachings out toward a new and more spiritual conception of life, 
 though he has descended into hell for his vantage-ground." For 
 myself, I fail to get the symbolism, the grosser details obtrude 
 themselves on me; I feel a sensualist reveling in his sensuality, 
 though all must admit a beauty of language which is new to the 
 literature of the world. Kennard seems to me to express very 
 vigorously what most readers will find in d'Annunzio. *'The 
 body, the body, the flesh and the sensations of the flesh — this has 
 appealed to him as the most marvelous thing in the universe, to 
 which all else must contribute and interpret. To these lesser 
 sensations he is keenly alive. He can describe, a kiss, except for 
 its spiritual significance and communion; he can describe an 
 ankle, he can describe a hand, so that there is nothing lacking. 
 He perceives, too, all that is in a sunset, save God and the soul ; 
 to these he is insensible. ... Of the tragic beauty, the sad poetry 
 of human destiny, he only gives us a superficial understanding. 
 He knows life's fitful fever, but he does not know life's real rich- 
 ness and serenity. He knows life's storms, but not life's calms ; 
 life's weakness, but not life's strength. He shows us beauty, but 
 it is hectic beauty. D'Annunzio is ignorant of the majesty of the 
 human soul, of the sublimity of human existence, and of the 
 Powers of the World to Come ; consequently this apostle of Joy, 
 Art, and Beauty never feels the true joy, never attains the highest 
 art, never knows the true soul of beauty." 
 
 To conclude, I fear that I have impressed you unduly with 
 the fact that there is a large amount of modern European litera- 
 ture to be had in translation. I feel sincerely that much of it is 
 very valuable. But if a library has limited means, there Is a 
 chance to get a general acquaintance and a sort of flavor of this 
 foreign fiction in the magazine called Poet Lore, which in the last 
 ten years has turned its attention largely to publishing transla- 
 tions of these writers, together with criticisms and discussions of 
 their merits. And here, as in other lines, the Everyman's LJbrary 
 is doing very wonderful work. 
 
 We have, as I see it, a duty, an opportunity, and an omen 
 
 19 
 
of great good fortune: a duty, to stop wasting our time and 
 money on our own popular novels and magazine stories, which 
 are, for the most part, trivial and useless ; an opportimity, to read 
 and know books which open up a new earth and a new heaven; 
 an omen of what the American people and the American literature 
 may be in the future. If Scandinavia, Germany, Russia, and 
 Italy have great literatures to-day, great literary ability, why 
 should we not hope to reap the benefit? Scientists are wont to 
 say that the mingling of blood and culture made the English race 
 what it is. 
 
 This is our task to-day, and no people have ever worked on 
 so large and splendid a project. Can we amalgamate Norse 
 enthusiasm, German philosophy, French artistry, Russian mysti- 
 cism, and Latin emotion into a new American race, American 
 literature ? 
 
 20 
 
Selected Bibliography 
 
 SCANDINAVIAN. 
 
 Andersen, Hans Christian. 1805-1875. 
 O. T. 
 
 Only a Fiddler 
 The Improvisatore 
 The Two Baronesses 
 
 Bjomson, Bjornstjernet ed. by Edmund Gosse. 1832-1010. 
 
 Synnove Solbakken 
 
 Arne 
 
 The Bridal March 
 
 In God's Way 
 
 Heritage of the Kurts 
 
 Sigurd Slembe 
 
 Ibsen, Henrik, tr. by William Archer. 1828-1906. 
 
 A Doll's House 
 
 Ghosts 
 
 The Vikings at Helgeland 
 
 Hedda Gabler 
 
 Little Eyolf 
 
 Lagerlof, Selma. 1858- 
 
 The Story of Gosta Berling 
 The Girl from the Marsh Croft 
 From a Swedish Homestead 
 
 Lie, Jonas. 1833-1908. 
 
 Niobe 
 
 The Commodore's Daughters 
 
 The Barque Future 
 
 The Pilot and His Wife 
 
 Strindberg, August, tr. by Edwin Bjorkman. 1849- 
 
 The Dream Play 
 
 The Link 
 
 The Dance of Death 
 
 Miss Julia 
 
 The Stronger 
 
 There are Crimes and Crimes 
 
 21 
 
GERMAN. 
 
 Auerbach, Berthold. 1812-1882. 
 
 On the Heights 
 
 Black Forest Village Stories 
 
 Aloys 
 
 German Tales 
 
 The Villa on the Rhine 
 
 Landolin 
 
 Dahn, Felix. 1834- 
 
 Felicitas 
 
 Ebers, George Moritz. 1837-1898. 
 
 Serapia 
 
 Homo Sum 
 
 Uarda 
 
 An Egyptian Princess 
 
 Frenssen, GustaT. 1863- 
 
 Jorn Uhl 
 Holyland 
 Klaus Hinrich Baas 
 
 Freytag, Gustav. 1816-1895. 
 
 Debit and Credit 
 
 Ingo 
 
 The Lost Manuscript 
 
 Goethe, Johann Wolfgang von. 1749-1832. 
 Halbe, Max. 1865- 
 
 The Rosenhagens 
 Hauptmaim, Gerhart. 1862- 
 
 The Sunken Bell 
 
 Hannele 
 
 Lonely Lives 
 
 The Weavers 
 
 The Coming of Peace 
 
 And Pippa Dances 
 
 Elga 
 
 Heyse, Johann Ludwig Paul. 1830- 
 
 In Paradise 
 
 The Children of the World 
 
 A Divided Heart 
 
 Mary of Magdala 
 
 Rosegger, Peter. 1843- 
 
 The Forest Schoolmaster 
 Scheffel, Joseph Victor von. 1826-1886. 
 
 Ekkehard 
 
 22 
 
Sudermann, Hermann. 1857- 
 The Joy of Living 
 Magda 
 Dame Care 
 Morituri 
 
 Fires of St. John 
 The Wish 
 John the Baptist 
 Regina 
 Rosen 
 
 Wagner, Wilhelm Richard. 1813-1883. 
 
 RUSSIAN. 
 
 Dostoyevski, Pedor. 1821-1881. 
 
 The Brothers Karamazov 
 
 Crime and Punishment ' 
 
 Injury and Insult 
 
 The Idiot 
 
 Prison Life in Siberia 
 
 Poor Folk 
 
 Gogol, Nikolai, tr. by Isabel F. Hapgood. 1809-1852. 
 
 St. John's Eve, etc. 
 Dead Souls 
 Tards Bulba 
 
 "Gorki, Maxim" — Alexel Peyeshkoff. 1868- 
 
 FomS, Gordy^eff 
 Children of the Sun 
 The Smug Citizen 
 A Night's Lodging 
 Summer Folk 
 
 Merejkowski, Dimitri, tr. by Herbert French. 1866- 
 
 The Death of the Gods 
 
 The Romance of Leonardo da Vinci 
 
 Peter and Alexis 
 
 Tchekoff, Anton. 1860-1904. 
 
 tJncle Vanya 
 Invanoff 
 The Sea-gull 
 The Swan Song 
 
 Tolstoi, Lyof, ed .by Nathan H. Dole. 1828-1910. 
 
 The Cossacks 
 
 Anna Kar^nina 
 
 War and Peace 
 
 Master and Man 
 
 My Confession, My Religion, etc. 
 
 23 
 
TorgeneT, Ivan. 1813-1883. 
 Lixa 
 Smoke 
 On the Eve 
 Fathers and Sons 
 Virgin Soil 
 Dimitri Roudine 
 
 POLISH. ; 
 
 Sienkiewicz, Henryk, tr. by Jeremiah Curtiii. 1845- 
 
 Quo Vadis 
 
 With Fire and Sword 
 
 The Deluge 
 
 Pan Michael 
 
 HUNGARIAN. 
 
 Jokai, Maiirus. 1825-1904. 
 
 Peter the Priest 
 The Nameless Castle 
 Black Diamonds 
 A Hungarian Nabob 
 The Day of Wrath 
 Timar's Two Worlds 
 
 BELGIAN. ; ; 
 
 Maeterlinck, Manrice. 1862- 
 
 Princess Maleine 
 
 The Intruder 
 
 The Blind 
 
 The Seven Princesses 
 
 AUadine and Palomides 
 
 P^lleas and M^lisande 
 
 Home 
 
 The Death of Tintagiles 
 
 Joyzelle 
 
 Monna Vanna 
 
 The Treasure of the Humble 
 
 Sister Beatrice 
 
 Ardiane and Barbe Bleue 
 
 The Blue Bird 
 
 FRENCH. 
 
 Balzac, Honors de, tr. by Katherine Prescott Wormeley. 1799- 
 1850. 
 
 Eugenie Grandet 
 P^re Goriot 
 Cousin Pons 
 The Country Doctor 
 
 24 
 
Bazin, Bene, tr. by A. S. Rappoport. 1853- 
 
 The Children of Alsace 
 
 "This, My Son" 
 
 Redemption 
 
 The Coming Harvest 
 
 The Nun 
 
 Bourget, Paul. 1852- 
 
 Pastels of Men, 2 vols. 
 The Land of Promise 
 The Screen 
 The Disciple 
 Domestic Dramas 
 Antigone 
 
 Cherbuliez, Victor. 1829-1899. 
 
 Count Kostia 
 
 Joseph Noirel's Revenge 
 
 Prosper Randoce 
 
 Coppee, Francois. 1842-1908. 
 
 True Riches 
 
 The Rivals 
 
 Tales — ten 
 
 The Substitute — in Stories by Foreign Authors 
 
 Baudot, Alpbonse. 1840-1897. 
 
 Jack, 2 vols. 
 Numa Roumestan 
 The Nabob 
 Tartarin of Tarascon 
 
 Bumas, Alexandre, pdre. 1802-1870. 
 
 Bumas, Alexandre, flls. 1824-1895. 
 
 Erckmann, Emlle. 1822-1899, and Chatrian, Alexandre. 1820- 
 1890. 
 
 The Plebiscite 
 The Conscript 
 Waterloo 
 
 Flaubert, Gustavo. 1821-1880. 
 
 Madame Bovary 
 Salammbo 
 
 "France, Anatole" — Jacques-Anatolo Thibault. 1844- 
 
 The Crime of Sylvestre Bonnard 
 
 Thais 
 
 The Red Lily 
 
 Mother of Pearl 
 
 The White Stone 
 
 25 
 
Gautier, Theopbile. 1811-1872. 
 
 Captain FracasBe 
 
 Stories 
 
 Avatar — in Tales Before Supper 
 
 Jettatura 
 
 The Mummy's Foot — in Stories by Foreign Authors 
 
 Hervieu, Paul. 1857- 
 
 In Chains 
 Hngo, Victor Marie. 1802-1885. 
 
 Huysmans, Joris-Karl. 1848-1907. 
 
 The Cathedral 
 **Loti, Pierre" — Louis Marie Julien Viaud. 1850- 
 
 An Iceland Fisherman 
 
 Disenchanted 
 
 Madame Chrysanth^me 
 
 Jean Berny, Sailor 
 
 The Book of Pity and of Death 
 
 A Child's Romance 
 
 Maupassant^ Guy de. 1850-189.S. 
 
 Pierre and Jean 
 The Odd Number 
 Strong as Death 
 
 M^rimee, Prosper. 1803-1870. 
 
 Carmen 
 
 Colomba 
 
 The Venus of Ille — in Tales Before Supper 
 
 Musset; Alfred d^. 1810-1857. 
 
 Three Novelettes and Valentine's Wager 
 
 Ohnet, Georges. 1848- 
 
 Antoinette 
 Dr. Rameau 
 The Ironmaster 
 
 Rostand, Eklmond. 1864- * 
 
 Cyrano de Bergerac 
 
 L'Aiglon 
 
 Chantecler 
 
 ''Sand, George" — Dudevant, A. L. A. 1804-1876. 
 
 Sue, Eugene. 1804-1857. 
 
 Verne, Jules. 1828-1905. 
 
 Zola, Emile, tr. by Ernest A. Vizetelly. 1840-1902. 
 
 Paris 
 
 Lourdes 
 
 Rome 
 
 Truth 
 
 The Attack on the Mill — in Stories by Foreign Authora. 
 
 26 
 
ITALIAN. 
 
 Amicis, Edmondo de. 1846- 
 
 Military Life in Italy 
 
 Cuore (known also as The Heart of a Boy) 
 
 Aimunzio, Gabriele d*. 1804- 
 
 The Maidens of the Rocks 
 
 The Flame of Life 
 
 The Dead City 
 
 Francesca da Rimini 
 
 The Daughter of Jorio 
 
 The Dream of a Spring Morning 
 
 The Dream of an Autumn Sunset 
 
 Fogazzaro, Antonio. 1842-1911. 
 
 Leila 
 
 The Saint 
 
 The Sinner 
 
 The Patriot 
 
 The Woman (known also as Malombra) 
 
 The Politician 
 
 Manzoni, Alessandro. 1785-1873. 
 
 The Betrothed 
 
 Serao, Matilde. 1856- 
 
 The Ballet Dancer and On Guard 
 Fantasy 
 
 Verga, Giovanni. 1840- 
 
 Under the Shadow of Etna, containing Cavalleria Rusti- 
 
 cana 
 The House by the Medlar-tree 
 
 SPANISH. 
 
 Bazan, Emilia Pardo. 1852- 
 
 A Christian Woman 
 
 Morrina 
 
 The Mystery of the Lost Dauphin 
 
 A Wedding Trip 
 
 Echegaray, Jose. 1832- 
 
 The Madman Divine 
 
 Mariana 
 
 The Son of Don Juan 
 
 The Great Galeoto (known also as The World and his 
 
 Wife) 
 Saint or Madman (known also as Folly or Saintliness) 
 
 27 
 
Galdos, Benito Perez. 1845- 
 
 Gloria 
 
 Leon Roch * 
 
 Marianela 
 
 Trafalgar 
 
 The Court of Chas. IV. 
 
 Electra 
 
 Dofia Perfecta 
 
 Valdes, Armando Palacio. 1853- 
 
 The Marquis of Penalta 
 
 Maximina 
 
 Sister Saint Sulpice 
 
 The Grandee 
 
 The Joy of Captain Ribot 
 
 The Fourth Estate 
 
 Froth 
 
 Valera, Juan, tr. by Mary J. Serrano. 1824-1905. 
 
 Dona Luz 
 Pepita Ximenei 
 
 MISCELLANEOUS. 
 Modem Ghosts. 
 
 Pastels in Prose, French, tr. by Stuart Merrill. 
 Stories by Foreign Authors. 10 volumes: 
 
 Russian, Scandinavian, Spanish, French (3 vols.), German 
 (2 vols.), Italian, Polish, Belgian, Hungarian. 
 
 IN "EVERYMAN'S LIBRARY." 
 Balzac, Honore de. 
 
 The Country Doctor 
 
 Cousin Pons 
 
 Eugenie Grandet 
 
 Old Goriot, etc. (known also as Pere Goriot) 
 
 Daudet, Alphonse. 
 
 Tartarin of Tarascon 
 Dostoy^vski, Fedor. 
 
 The House of the Dead 
 Crime and Punishment 
 
 Dumas, Alexandre. 
 
 8 volumes 
 
 Eirckmann, Fmile and Cbatrian, Alexandre. 
 
 The Conscript 
 Waterloo 
 
 Goethe, Johann Wolfgang von. 
 Hugo, Victor Marie. 
 
 28 
 
Ibsen, Henrik. 
 
 Ghosts 
 
 An Enemy of the People 
 
 The Warriors at Helgeland (known also as The Vikings at 
 
 Helgeland) 
 A Doll's House 
 The Wild Duck 
 The Lady from the Sea % 
 
 "Sand, George." 
 
 Devil's Pool 
 Francois the Waif 
 
 Scheflfel, Joseph Victor Ton. 
 
 Ekkehard 
 Tolstoi, Lyof. 
 
 War and Peace, 3 vols. 
 Master and Man 
 
 Childhood, Boyhood, and Youth 
 Anna Kar4nina 
 
 Tui^^nev, Ivan. 
 
 Virgin Soil 
 
 29 
 
References 
 
 SCANDINAVIAN. 
 
 Boyesen, Hjalniar Hjorth. . . .A Commentary on the Writings of 
 
 Henrik Ibsen. 
 Essays on Scandinavian Litera- 
 ture. 
 
 Brandest Geoi^e Henrik Iheen, Bjornstjerne 
 
 Bjornson: critical Studies. 
 
 Goss, Edmund W Ibsen. 
 
 Studies in the Literature of 
 Northern Europe. 
 
 Horn, Frederik Scandinavian Literature. 
 
 Lee, Jennette The Ibsen Secret. 
 
 Lind af Hageby, L. August Strindberg. 
 
 Moses, Montrose Henrik Ibsen : the Man and his 
 
 Plays. 
 GERMAN. 
 
 Boyesen, Hjalmar Hjorth .... Essays on German Literature. 
 
 Coar, J. F Studies in German Literature. 
 
 Francke, Kuno Glimpses of Modern German Cul- 
 ture. 
 A History of German Literature. 
 
 Heller, Otto Studies in Modern German Litera- 
 ture. 
 
 Robertson, John G A History of German Literature. 
 
 Thomas, Calvin A History of German Literature. 
 
 Wells, Benjamin W Modern German Literature. 
 
 Witkowski, Georg The German Drama of the Nine- 
 teenth Century. 
 RUSSIAN. 
 
 Baring, Maurice Landmarks in Russian Literature. 
 
 Bazan, Emelia Pardo Russia : its People and its Litera- 
 ture. 
 
 Bruckner, A A Literary History of Russia. 
 
 Dupuy, Ernest The Great Masters of Russian Lit- 
 erature. 
 
 Kropotkin, Petr Russian Literature. 
 
 Merejkowski, Dmitri Tolstoi as Man and Artist, with an 
 
 essay on Dostoievski. 
 
 Panin, Ivan Lectures on Russian Literature. 
 
 Phelps, William Lyon Essays on Russian Novelists. 
 
 Turner, Charles Edward Count Tolstoi. 
 
 30 
 
Vogu6, E. M. M., vicomte de . , The Russian Novelists. 
 
 Waliszewski, Kazimierz A History of Russian Literature. 
 
 Wiener, Leo An Anthology of Russian Litera- 
 ture, vol. 2, The Nineteenth 
 Century. 
 
 Wolkonsky, Serge Pictures of Russian History and 
 
 Russian Literature. 
 
 FRENCH. 
 
 Bnmetiere, Ferdinand Essays in French Literature. 
 
 Honore de Balzac. 
 A Manual of the History of 
 French Literature. 
 
 Dowden, Edward A History of French Literature. 
 
 Ihiclaux, Mary The French Procession. 
 
 Gosse, Edmund W French Profiles. 
 
 Hart, Jerome A Sardou and New Sardou Plays. 
 
 James, Henry, jr French Poets and Novelists. 
 
 Konta, Annie Lemp A History of French Literature. 
 
 Matthews, James Brander. .. .French Dramatists of the Nine- 
 teenth Century. 
 
 Pellissier, Georges The Literary Movement in France 
 
 during the Nineteenth Century. 
 
 Saintsbury, G. E. B Essays on French Novelists. 
 
 A Short History of French Litera- 
 ture. 
 
 Stephens, Winifred French Novelists of Today. 
 
 Taine, Hippolyte Adolphe. . . . Balzac. 
 
 Wells, Benjamin W A Century of French Fiction. 
 
 Modern French Literature. 
 Wright, C. H. Conrad A History of French Literature. 
 
 ITALIAN. 
 
 Garnett, Richard A History of Italian Literature. 
 
 Hutton, Edward Italy and the Italians. ( d'An- 
 
 nunzioj 
 Kennai'd, Joseph Spencer. . .Italian Romance Writers. 
 
 '♦Ouida'' Critical Studies. (d'Annunzio) 
 
 Sedgwick, Henry Dwight. . . .Essays on Great Writers. (d'An- 
 nunzio) 
 SPANISH. 
 
 Clarke, H. Butler Spanish Literature. 
 
 Kelly, James Fitzmaurice. ... A History of Spanish Literature. 
 
 MISCELLANEOUS. 
 
 Brandes, George Eminent Authors of the Nine- 
 teenth Century. 
 
 Chesterton, G. K Varied Types. 
 
 Crawford, Virginia Studies in Foreign Literature. 
 
 Hale, E. E., jr Dramatists of Today. 
 
 31 
 
Huneker, James Iconoclasts. 
 
 Egoists. 
 Overtones. 
 
 James, Henry, jr Partial Portraits. (Daudet, Mau- 
 passant, Turgenev) 
 
 Peck, Harry Thurston Studies in Several Literatures. 
 
 (Zola, Tolstoi, Daudet) 
 
 Saintsbury, G. E. B The Later Nineteenth Century. 
 
 (Periods of European Litera- 
 ture) 
 
 Symons, Arthur Studies in Prose and Verse. (d'Aa- 
 
 nunxio, Balzac) 
 The Symbolist Movement in Lit- 
 erature. 
 
 Thorold, Algtir Six Masters in Disillusion. 
 
 32 
 
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