Zola also reproduces my epileptic moral madman in _La Bête Humaine_, in the alcoholic in _L'Assommoir_, the paranoiac in Work, and himself confesses to having taken the brief of his immortal chain of romances, Rougon, from a study made by Aubry in a provincial family celebrated for its richness in degenerates, criminals, and insane, all derived from a dull, neurotic Keratry. Daudet depicts in Jack a series of _mattoidi_, that particular species of insane which I first discovered, that occupies a position between paranoiacs, geniuses, and imbeciles. ANCIENT ROMANCE AND THEATER.--We turn now to the ancient theater and romance. All the Roman novels of Petronius and Apuleius are rich in obscene, mythological, and magical adventures, most improbable and satirical, without ever defining a character or including a real madman. In the ancient Greek theater, while the idea of heredity is discernible under the form of fate, while violent passion is every now and then depicted under marvelous forms, while anomalies strike us, and furies of Ajax and Dejanira, of Orestes and Oedipus, and the melancholy of Philoctetes, they all still have a common type, which is not perceived in ordinary life. They are madmen who do not exist in any asylum, who seem symbolical, and have little correspondence with the men of the mythological and heroic epoch to which they all belonged; they never, except in Euripides, present a specific personage, nor ever, unless with rare exceptions--as in the Persians of Æschylus and a few other lost works, like the Siege of Miletus--deal with contemporary historical facts. These poets were concerned with the symbol, the moral, the tradition, and, if I may be permitted the term, the blasphemy, the declamation, rather than with depicting the person. This is further seen in the comedy of the Greek decadence, and still further in that of the Romans, in which, except in the political squibs, the same personages nearly always appear, as well as showing out of the masks intended for the common people--and these figures have come down to us. There are nearly always the old miser or rake, the go-between slave, the braggart soldier. The plots were likewise the same: changed children, reconciled lovers, except in the Greek political satires, in which the demerits of the adversary were exaggerated into the most atrocious caricature, and which became like real humorous journals of the political trifles of the day.