But, chiefest of all, it expressed the people described in the section of "Jean-Christophe" significantly entitled "Dans la Maison." It expressed the essential France hidden by the glare of the Third Republic. The music of Cesar Franck is the music of the people driven into themselves by the conditions of modern life. It is the music of the fine ones who stand hesitant on the threshold of the world, and have incessantly to struggle for the power to act, for faith and hope. It is the music of those who in the midst of millions feel themselves forsaken and alone and powerless, and in whose obscure and laborious existence Franck himself shared. It is a thing turned away from the market-place, full of the quiet of the inner chamber. Through so much of Franck one feels the steady glow of the lamp in the warm room. With its songs of loneliness and doubt and ruth, its self-communings and vigils and prayers, its struggle for the sunlight of perfect confidence and healthiness and zest, it might come directly out of the lives of a half-dozen of the eminent persons whom France produced during the closing years of the nineteenth century. Romain Rolland himself is of this sort. It was for these people, self-distrustful, disillusioned, doubtful, that Charles Peguy wrote, bidding them remember the divine origin of the life and the institutions that seemed so false to them, bidding them remember that the Republic itself was the result of a mystical impulse in the human heart, that the dead of a race live on in the bodies of the breathing, and that the members of a folk are one. The mysticism and Catholicism of Paul Claudel, the revulsion from the scepticism of Renan and Anatole France that has become so general in recent French thought, the traditionalism, nay, the intellectual reaction, of the latest France, are all foreshadowed and outlined in the music of Cesar Franck. He must have pulsed with the very heart of his adopted country.