The temptation to translate long quotations was very great, for translation is a challenging exercise and an uneasy, but, so far as possible, I have resisted it. I think it only fair to say that, as a rule, I have not translated very closely, but attempted to render selected passages, fitting the style to the matter; that is, for philosophic or descriptive passages I have, as much as possible, used Latinised English; for the more familiar portions I have drawn upon our slender stock of Anglo-Saxon.[1] As for the classifications, Anatole France satirist, critic, politician, philosopher, etc., they are necessarily rather rough; they overlap because not one of his books is one thing, and one thing only. In that direction too I must claim the reader’s indulgence. [1] I should like to say in this respect that I am greatly indebted to Mr John Lane, who owns the British copyright of most of the works of Anatole France, for leave not only to quote portions of his translations, but also to retranslate and condense the French text. A full list of the English titles of the works will be found at the end of this volume. Yet another word: I come neither to bury Anatole France nor to praise him; there is in one-man criticism a danger that it should be too favourable, for the critic tends to choose as a subject an author whom he whole-heartedly worships. Now I do not worship Anatole France; I have had to read every one of his works over again in the last few weeks, and if there is anything calculated to make one hate a writer for evermore it is to read all his works one after the other. People are afraid to criticise Anatole France adversely; he seems to have attained the position now accorded to Galileo (who was tortured), to Joan of Arc (who was burned), to Wagner (who was hooted), to everybody, in fact, who ever did anything worth while. In his early years, when de Maupassant, Zola, Daudet, were alive, he was ignored; everything was done to keep him down: the Académie Française went so far as to give him a prize. But times have changed; Anatole France is acclaimed all over the world; everybody quotes him, and those who cannot quote him quote his name; he is above criticism. This would be very bad for him if he were not also above adulation. People dare not say the things which should be obvious: that he repeats himself; that he is sentimental; that his novels are, from the point of view of French technique, incoherent; that, as expressed by his characters, his conception of love is rather disgusting; in fact, they take all the humanity out of him by endowing him with all the graces; they erect to him a statue which represents him just about as much as the sort of statue they occasionally put up to some highly respectable politician whom they depict stark naked, and beautiful as a young _discobolus_.