"I think the important thing for Zola was that his day coincided with a materialistic ascendency in the thought of France. He lived at a time admirably suited to a man of his type. Zola found a France weak and contemptible in its government, and in consequence a soil in which grossness could profitably be cultivated. "He was by no means a great artist; he was merely a writer writhing for recognition when he turned to filth. He took it up to commercialize it, to turn it into money and reputation. Men such as he are continually, at different times and in different countries, lifting their heads. But unless they are sustained by what chances to be a loose public attitude on questions of decency, they are clubbed into silence. "And just why should the exploitation of filth assume to monopolize the word 'realism'? To define precisely what realism should include and exclude would call for hard thinking. But it doesn't take much thought to reach the conclusion that mere annalists of grossness have no proper monopoly of the term. Grossness is no adequate foundation for a literary monument; it is not even a satisfactory corner-stone. The few writers one thinks of that constitute exceptions would have left a better monument without it. "But if you wish to realize how fortunate Zola was in coinciding with a period when the chief effort of the ruling spirits of France was to war on all forces that strove to conserve decency, try to imagine what sort of a reception _L'Assommoir_ would be accorded to-day by the tears of France stricken through calamity to its knees. "France is experiencing now realism of quite another sort from that propagated by Zola--a realism that is wringing the souls and turning the thoughts of a great and unhappy people back once more to the eternal verities; in these grossness never had a place. "And if you don't want to think in grossness, don't read in it; if you don't want to act in grossness, don't think in it. To exploit it is to exaggerate its proper significance in the affairs of life.