the consideration of the immanent problem of justice. Under the pseudonym Saint-Just he published a dramatic parable, _Les loups_, wherein he lifted the problem from the realm of time into the realm of the eternal. This was played to an enthusiastic audience, among which were Zola, Scheurer-Kestner, and Picquart. The more definitely political the trial became, the more evident was it that the freemasons, the anti-clericalists, and the socialists were using the affair to secure their own ends; and the more the question of material success replaced the question of the ideal, the more did Rolland withdraw from active participation. His enthusiasm is devoted only to spiritual matters, to problems, to lost causes. In the Dreyfus affair, just as later, it was his glory to have been one of the first to take up arms, and to have been a solitary champion in a historic moment. Simultaneously, Rolland was working shoulder to shoulder with Péguy, and with Suarès the friend of his adolescence, in a new campaign. This differed from the championship of Dreyfus in that it was not stormy and clamorous, but involved a tranquil heroism which made it resemble rather the way of the cross. The friends were painfully aware of the corruption and triviality of the literature then dominant in Paris. To attempt a direct attack would have been fruitless, for this hydra had the whole periodical press at its service. Nowhere was it possible to inflict a mortal blow upon the many-headed and thousand-armed entity. They resolved, therefore, to work against it, not with its own means, not by imitating its own noisy activities, but by the force of moral example, by quiet sacrifice and invincible patience. For fifteen years they wrote and edited the "_Cahiers de la quinzaine_." Not a centime was spent on advertising it, and it was rarely to be found on sale at any of the usual agents. It was read by students and by a few men of letters, by a small circle growing imperceptibly. Throughout an entire decade, all Rolland's works appeared in its pages, the whole of _Jean Christophe_, _Beethoven_, _Michel-Ange_, and the plays. Though during this epoch the author's financial position was far from easy, he received nothing for any of these writings--the case is perhaps unexampled in modern literature. To fortify their idealism, to set an example to others, these heroic figures renounced the chance of publicity, circulation, and remuneration for their writings; they renounced the holy trinity of the literary faith. And when at length, through Rolland's, Péguy's, and Suarès' tardily achieved fame, the "Cahiers" had come into its own, its publication was discontinued. But it remains an imperishable monument of French idealism and artistic comradeship.